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Decorative  Design.  A  Textbook  of  Practical  Methods.  By  Joseph  Cummings 
Chase,  Instructor  in  Decorative  Design  at  the  College  of  the  City  of  New  York 
and  at  the  Woman's  Art  School,  Cooper  Union.  vi4-73  pages,  8  by  lof,  340 
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Agricultural  Drafting.  By  Charles  B.  Howe,  M.E.  8  by  lof ,  viii+63  pages, 
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Agricultural  Drafting  Problems.  A  Manual  to  Supplement  the  text  in  Agri- 
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Architectural  Drafting.  By  A.  B.  Greenberg,  Stuy-vesant  Technical  High 
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The  Orders  of  Architecture.  A  IVIanual  to  Supplement  the  text  in  Architectural 
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Mechanical  Drafting.  By  Charles  B  Howe,  M.E.,  Bushwick  Evening  High 
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Costume  Design  and  Illustration.  By  Ejhel  H.  Traphagen,  Instructor  and 
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General  Principles  of  Drafting  and  Working  Drawings.  15  Lessons,  with  Illus- 
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Part  IV.     Plan  Drawing.     Part  V.     Plot  and  Map  Drawing.      In  preparation). 

Student's  Manual  of  Fashion  Drawing.  Thirty  Lessons  with  Conventional 
Charts.  By  Edith  Young.  Director  of  the  Edith  Young  Art  School,  Newark, 
N.  J.  Formerly  Art  Director  of  the  Albert  Studio  of  Fashion  Drawing,  Albert 
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Drawing  by  Drian 


Frontispiece 


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COSTUME  DESIGN 
AND   ILLUSTRATION 


ETHEL   TRAPHAGEN 

Instructor  and  Lecturer  at  Cooper  Union,  The  New 
York  Evening  School  of  Industrial  Art,  and  Brooklyn 
Teachers'  Association  Classes;  formerly  on  the  staff 
of    Dress  Magazine  and    The   Ladies'   Home   Journal 


'H' 


FIRST      EDITION 


NewYork  1918 

JOHN    WILEY    &    SONS,     Inc. 

CHAPMAN    &    HALL,    Limited  Londok 


Copyright,  1918,  by 
ETHEL  TRAPHAGEN 


PRINTEBS 


^rr 


Art  Library 

rr 

50'f 


THIS  BOOK  IS  SINCERELY  DEDI- 
CATED TO  MY  STUDENTS,  WHOSE 
ENTHUSIASM  AND  SUCCESS  HAVE  BEEN 
ITS   INCENTIVE   AND    INSPIRATION 


THEPREFAGE 

Costume  Design  and  Costume  Illustration  are  not  always  looked 
upon  as  distinctly  different  branches  of  what  is  termed  fashion  work, 
but  in  truth  there  is  a  marked  difference  between  them. 

^  In  the  former,  one  must  consider  the  judging  of  color,  and  all  that  this 
(\j  includes  by  way  of  harmonies,  contrasts,  areas,  etc.;  the  relation  of  spaces; 
(?)  proper  proportions;  and  the  beauty  and  effect  of  line,  balance  and  scale 
^  arrangements  for  the  production  of  a  design  that  is  dignified,  fanciful, 
^^  frivolous,  dainty,  formal,  or  subtle,  to  express  the  designer's  conception 
Oft   of  the  purpose  of  the  costume  and  its  suitability  to  the  wearer. 

(^  The    costume    illustrator,    on     the     other    hand,    has    the    privilege    of 

,  representing   the  garment  after  it  has  been  designed — he  must  be  able 

^  to  render  the  material     with    his    pen,  pencil  or  brush  in  such  a    way 

^  that  the  actual  design  is  not  robbed  of    any   of   its   charm.     Of   course, 

("V    there   are   many   ways    of    doing  this,   according    to    the  technique    and 

sensitiveness    or    temperament   of    the    artist,    as    well   as   the  different 

methods  customary  for  the  special  use  for  which  the  design  is  intended. 

It  can   easily   be  seen  how    advantageous    it    is    to    any    fashion    artist, 

whether  designer  or  illustrator,  to  have  an  understanding  of  both  branches 

to  get  the  best  out  of  either,  for  they  have  much  in  common. 

The  designer  and  the  illustrator  should  both  have  a  knowledge  and  a  keen 
appreciation  of  the  beautiful  lines  of  the  human  form,  to  know  what 
lines  are  important  to  emphasize  and  what  to  conceal  in  a  figure  which 
may  not  be  perfect.  Drawing  from  the  nude  is  of  great  advantage  to 
the  student,  and  no  serious  costume  illustrator  should  be  without  this 
valuable  training. 

There  are  some  books  which  may  help  the  ambitious  student  in  the  life 
class  to  observe  and  impress  on  the  mind  fundamental  facts  which  it  is 
believed  most  life-class  teachers  will  agree  in  thinking  extremely  useful. 
Among  these  are  Dunlop's  Anatomical  Diagrams,  Figure  Draicing  by 
Hatton,  Anatomy  in  Art  by  J.  S.  Hartley,  Richter,  Marshall  or  Duval,  and 
Drawing  the  Human  Figure  by  J.  H.  Vanderpoel.  If  the  student  is  studying 
without  an  instructor,  Practical  Drawing,  by  Lutz,  will  be  found  helpful. 

Ethel  H.  Traphagen, 

New  York,  1918. 


THE        CONTENTS 

CHAPTER  PAGE 

I.  Sketching 1 

II.  Drawing  without  Models    ....  13 

III.  Methods 27 

IV.  Color 63 

V.  Design 75 

VI.  The  Fashion  Silhouette  .....  83 

VII.  Period  Fabric  Design 91 

VIII.  Outline  of  Historic  Costume  ...  99 

IX.  Bibliography .127 

X.  A  Reading   and   Reference  List  of 

Costume,     Arranged     Alphabetic- 
ally        137 

XI.  Artists    whose    Work   Has    Bearing 

ON  Period  Fabrics  or  Costume      .  185 

XII.  Index 199 


SKETCHING 

CHAPTER    ONE 


COSTUME    DESIGN  AND   ILLUSTRATION 


CHAPTER  ONE 


SKETCHING 


1.  Forms. — In    both    lines    of    fashion  farthest  point  out  of  the   other  oval,  to 

work  it  is  necessary  to  be  able  to  eon-  represent  the  skirt.     Connect  these  and 

struct  quickly  a  form  on  which  to  sketch  you  have  a  form.     See  Fig.  1.     The  bust 

or  design  a  dress,  and,  like  the  forms  in  and  hip  should  be  on  a  line,  and  for  the 


fufthat 


Fig.  1. — First  steps  in  constructing  a  dress  form. 


store  windows,  this  should  be  constructed 
to  enhance  the  good  lines  of  the  garment. 
Care  must  be  taken,  however,  never  to 
confuse  this  with  the  human  figure,  the 
structure  of  which  is  entirely  different. 

The  simplest  way  of  obtaining  this 
form  is  by  drawing  tw^o  ovals.  First, 
make  a  straight  line  for  the  shoulders, 
then  swing  an  oval,  somewhat  foreshort- 
ened, from  the  shoulder  line,  to  repre- 
sent the  waist.  Next,  swing  another 
more  elongated  oval,  from  near  the  end- 
ing points  of  the  first  oval,  having  the 
farthest    part    out    always    opposite    the 


present-day  silhouette  the  connecting  lines 
should  be  but  slightly  curved. 

Next,  extend  the  two  lines  for  the 
sleeves,  add  the  collar  and  put  in  the 
centre  line,  which,  in  the  front,  follows 
the  outside  line  of  the  waist  and  goes 
straight  in  the  skirt.  See  Fig.  ^.  (Of 
course,  the  proportions  differ  according 
to  fashion;  i.e.,  the  normal  waist  would 
go  but  twice  into  the  short  skirt  of  the 
summer  of  1916.)  It  is  interesting  to 
note  how  the  reverse  of  this  straight  line 
and  curve  forms  the  back.  In  making  the 
back,  connect  the  ovals  in  the  same  man- 


Page  Two  SKETCHING 

ner,  but  note  that  the  centre  Hne  goes  the  straight  full  front  view,   because   of 

straight  in  the  waist  and  curves  in  the  the  advantage  of  showing  the  side  of  the 

skirt.     See  Fig.  3.  dress  as  well  as  the  front.     An  examina- 

The   waist   and   collar  lines  curve   up.  tion    of    fashion    publications    will   prove 

The  normal  waist  goes  into  the  skirt  about  how  general  is  this  preference. 


Fig.  2. 


JlJlu 


Fig.  3. 


two  and  a  half  times,  and  the  sleeves 
bend  at  the  waist  line  or  a  little  above. 
The  supporting  points  at  the  shoulder, 
elbow,  and  hips  should  be  marked,  for 
it  is  these  points  that  most  affect  the 
drapery. 

With  a  little  application,  these  forms 
may  soon  be  mastered,  and  the  practice 
of  doing  them  rapidly  and  turning  them 
both  ways  makes  for  proficiency.  See 
Pig.  4.  Observe  that  three-quarter  front 
and  back  views  are  used  in  preference  to 


Fig.  4. 

2.  Summary. — The  main  points  to  be 
remembered  are  that  the  bust  and  hips, 
for  the  present  silhouette,  should  be  on  a 
line,  that  the  arms  bend  at  the  waist  line 
or  a  little  above,  and  that  the  normal 
waist  goes  into  the  instep  length  skirt 
about  two  and  a  half  times. 

In  the  front  view  remember  that  the 
centre  line  follows  the  outside  line  in 
the  waist  and  goes  straight  in  the  skirt, 
that  in  the  back  the  centre  line  goes 
straight  in  the  waist  and  curves  in  the 


SKETCHING  A  GARMENT 


Page  Three 


skirt.     (The  centre  hne  is  the  centre  of 
the  actual  figure,  not  of  the  sketch.) 

The  collar  and  waist  lines  curve  up  in 
the  back  and  down  in  the  front.  The 
bottom  of  the  skirt  describes  a  circle; 
therefore,  like  the 


waist  and  collar, 
the  line  curves,  but 
always  downward. 
The  shoulder  lines 
should  be  made  to 
slant  as  much  as 
the  silhouette  re- 
quires. 

For  this  work 
use  an  H.B.  pencil, 
Eberhard  Faber, 
Ruby  or  Emerald 
eraser,  and  emery 
board  pad.  The 
point  of  the  pencil 
should  be  kept 
very  sharp  by  con- 
tinually pointing  it 
on  the  pad.  From 
the  start  great  at- 
tention should  be 
paid  to  a  clean-cut 
and  beautiful  line 
and  to  the  proper 
placement  of  the 
sketch  on  the 
paper.    See  under  "  Greek  Law,"  page  27. 

3.  Sketching  a  Garment. — After  the 
form  is  mastered  up  to  this  point,  the 
next  step  is  the  sketching  of  a  garm^ent 
on  the  foundation  drawn.  If  possible,  have 
as  a  model  a  simple  dress  or  suit  on  a 
coat-hanger,  or  preferably  a  dressmaker's 
form;  then  find  the  centre  line  of  the 
garment  and  see  that,  in  sketching  it 
on  the  oval  form  first  constructed,  you 


jU 


Fig.  5. — Pencil  sketch  of  a  suit. 


have  the  centre  line  of  your  sketch  cor- 
respond with  the  centre  line  of  the  gar- 
ment.    You  will  find  the  proper  observa- 
tion of  the  centre  line  an  infallible  guide 
in  giving  you  the  proper  relation  of  the 
sketch  to  the  gar- 
ment. 
im  Next    observe 

V-  x\  the    large,    impor- 

'  tant  facts — such  as 

length  of  sleeves, 
length  of  coat,  the 
long,  important 
lines— and  be  par- 
ticular to  put  in 
the  seams;  but 
leave  details  such 
as  embroidery, 
lace,  tucks,  plaits, 
gathers,  etc.,  until 
the  last.  See  Figs. 
5,  6,  and  7. 

After  the  lengths 
of  the  sleeves, 
waist,  coat,  etc., 
are  determined, 
you  must  strive  for 
skill  in  keeping 
your  pencil  line 
clean  and  sharp. 
This  gives  the 
much-desired,  well 
pressed  newness  to  the  garment.  To 
keep  this  effect,  beware  of  too  rounded 
curves.  After  the  sketch  is  finished, 
some  accents  should  be  put  in,  in 
places  where  shadows  would  naturally  be; 
this  gives  added  interest  to  sketches. 
From  the  first,  observe  and  work  for 
texture.  Notice  how  delicate,  light  lines 
express  thin  material  better  than  heavy, 
hard  ones.     After  ability  of  this  kind  is 


'[•]'"!  ]''"".<  ^ 


Page  Four 


SKETCHING 


acquired,  the  next  step  is  to  work  for 
speed.  Garments  in  shop  windows  give 
excellent  opportunity  for  sketching  when 
the  student  is  trying  to  acquire  speed. 

4.  Sketching  from  Memory. — Training 
the  memory  in 
sketching  is  also 
most  important.  A 
good  way  to  do 
this  is  to  sketch 
from  memory 
what  has  been 
drawn  from  ths 
garment  the  day 
before.  Another 
good  way  is  to 
observe  a  dress 
either  in  a  shop 
window  or  on  a 
person,  and  then, 
without  again 
looking  to  aid  the 
memory,  to  try  to 
put  on  paper  all 
you  remember.  It 
is  well  to  verify 
this  sketch  by 
comparing  it  with 
the  garment,  to 
find  out  how  much 
you  have  forgotten 
and  where  you 
have  made  mis- 
takes. To  be  able 
to  sketch  from  memory  is  a  truly  valu- 
able asset  in  costume  work.  So  much 
can  be  carried  away  in  one's  mind  from 
"Openings"  and  places  where  sketching 
is  not  possible. 

5.  Sketching  from  Garments. — A  knowl- 
edge of  the  proper  way  to  sketch  gar- 
ments  such   as   gowns,   hats,    and  acces- 


FiG.  6. — Preliminary  pencil  sketch  of  a  gown 


sories,  is  absolutely  necessary  in  fashion 
work.  It  is  helpful,  first  for  your  own 
convenience  when  you  see  things  you 
wish  to  remember,  or  when  you  wish  to 
explain  things  seen  to  some  one  else,  next, 
in  gathering  ideas 
to  adapt  to  your 
own  designs,  and 
again,  in  doing 
sketching  for  news- 
papers  or  maga- 
zines. Designers 
for  manufacturers 
find  it  a  great 
boon  to  be  able  to 
sketch  in  their  ex- 
ploring trips  in  the 
shops  and  along 
Fifth  Avenue. 

Sketching  for 
manufacturers  is 
done  for  two  pur- 
poses:  To  give 
Ihem  the  latest 
French  models 
from  the  "Open- 
ings" from  which 
to  make  exact 
copies  or  some- 
thing adapted  to 
their  special  trade 
needs,  and  to  give 
them  an  inventory 
of  their  own  stock 
for  their  reference  and  convenience. 

Sketching  for  dressmakers  is  a  little 
line  of  fashion  all  its  own.  The  sketches 
for  them  must  be  daintily  finished,  as 
they  are  to  be  shown  to  the  customer 
and  play  an  important  part  in  the  sale 
of  the  gown  represented.  The  simple 
ones  (see  Fig.  6)  are  done  in  pencil,  with- 


SKETCHING  FROM  GARMENTS 


Page  Five 


Fig.  7.—  Illustrating  a  variety  of  details. 

but 


out  heads,  but  with  a  styhsh  foundation 
form  under- 
neath, with 
sometimes  a 
little  color 
added  in  the 
background  to 
throw  the 
sketch  out. 
Sometimes  they 
are  still  more 
finished  though 
without  heads,  Fiq.  8. 


as  a  rule  the  more  finished  dress- 
makers' sketches 
are  done  on 
figures  express- 
ing some  action 
and  illustrating 
the  presumed 
effect  of  the 
gown  on  the 
wearer.  See 
Figs.  13  and  14. 
WTien  sketch- 
es  are  being 


Page  Six 


SKETCHING 


done  for  embroideries,  an  additional  small 
detail  drawing  should  be  made  of  the 
embroidery  at  the  side  of  the  paper.  Tex- 
tures and  colors  should  always  be  noted 
on  the  sketch  as  well  as  details,  such 
as  the  number  of  buttons, 
etc.,  in  order  that  there 
may  be  no  confusion  when 
making  the  finished  sketch 
at  home  or  in  your  studio. 
A  convenient  size  for 
rough  sketches  is  six  and 
one-half  inches.  Practical 
sizes  for  finished  dress- 
makers' sketches  are  from 
ten  to  twelve  inches  when 
heads  are  included;  with- 
out heads,  six  and  one- 
half  or  seven  inches. 
Wide  margins  lend  dis- 
tinction. 

Some  of  the  well  known 
French  designers  are  Paul 
Poiret,  Cheruet,  Beer, 
Callot  Sceurs,  Paquin, 
Martial  and  Armand, 
Francis  and  Drecoll.  Al- 
ways note  the  designer's 
name  on  your  sketch  as 
well  as  the  texture,  color, 
and  detail.  The  name  of 
the  design  always  en- 
hances the  value  of  a 
sketch.  Always  place 
these  sketches  on  the 
paper  according  to  the  Greek  Law,  i.e., 
most  margin  at  the  bottom  of  the  paper. 

When  making  a  finished  sketch  of  this 
kind,  a  pretty  pose  should  be  chosen, 
and  this  should  be  thought  out  and 
practically  finished  in  pencil;  then  draw 
in  the  garment  carefully  before  putting 


on  the  color.  The  usual  method  is  to  put 
in  the  shadows  first,  the  light  big  washes 
next,  and  the  detail  last.  Clear  color  is 
used  as  a  rule  but  opaque  or  tempera  is 
often  used  in  small  areas  combined  with 
the  clear  color  sketch; 
sometimes  opaque  paints 
are  substituted.  (See  Page 
9  and  description  under 
Color,  page  68.)  Pen-and- 
ink  outlines  are  often  used 
for  these  sketches  and  kid 
bristol  or  illustration  board 
is  considered  the  best  kind 
of  paper. 

6.  Hats.— Much  of  what 
has  just  been  stated  ap- 
plies also  in  sketching 
hats.  Care  should  be 
taken  to  express  the  most 
characteristic  side  of  the 
hat;  in  other  words,  catch 
its  "feature."  Be  careful 
not  to  lose  the  relation 
of  the  crown  of  the  hat 
to  the  head.  When  pos- 
sible, it  is  best  to  have 
some  one  pose  for  you  to 
insure  the  right  angles. 
See  Fig.  12. 

Before  going  into  this 
further,  consult  Section 
15,  page  17. 

Theatrical  designs  and 
sketches  are  carried  out  in 
the  manner  of  the  other  sketches  of 
hats  and  dresses,  but  a  greater  liberty 
in  the  way  of  eccentricity  and  exaggera- 
tion is  permitted.     See  Fig.  9. 

7.  Accessories. — In  connection  with 
sketching,  the  student  would  do  well  to 
pay  attention  to  accessories  such  as  col- 


By  William  Gebhardt 
Fig.  9. — ^Theatrical  design. 


SKETCHING  FROM  LIFE 


Page  Seven 


lars,  sleeves  and 
shoes.  It  tends  to 
much  greater  facility 
on  the  part  of  the 
student  to  arrange 
these  according  to 
the  Greek  Law  of 
proportion,  page 
27.  For  sugges- 
tions see  Fig.  11 
on  this  page. 

8.  Sketching  from 
Life. — Sketching 
from  life  is  strongly 
advised;  drawing 
from  the  nude  is  of 
great  advantage 
when  done  with  un- 
derstanding. In  all 
sketching  and  draw- 
ing it  is  advisable  to 
block  in,  or  in  other 
words,  sketch  with 
light  lines  the  general 
proportions,  using 
tentative  or  trial 
lines  and  "feeling 
for"  the  form.  See 
Figs.  15,  16,  18,  and 
19. 

Never  complete 
one  part  before 
another  part  is 
thought  out;  never 
fix  your  attention 
on  the  outline,  but 
rather  on  general 
proportion,  or  the 
result  will  be  un- 
happy. See  Fig.  17. 
Decide  where  your 
drawing  is  to  begin 


?.A*»S 


Courtesy  of  Gerhard  Menncn  Co 

Fig.  10. — Crayon  drawing. 


Fia.  11.— Shoes  drawn  by  Elfrida  Johnson. 


on  the  paper,  and 
where  it  is  to  end, 
leaving  good  mar- 
gins (more  at  the 
bottom  than  top), 
and  block  in  between 
these  spaces.  After- 
wards make  sketches 
from  memory  of  the 
pose  you  have  been 
studying. 

When  doing  rapid 
sketching  to  catch 
the  action  of  a  figure 
in  motion,  indicate 
the  position  of  the 
head,  hands,  and  feet 
and  fill  in  the  rest. 
Excellent  practice  is 
obtained  in  doing 
five,  seven,  ten,  and 
fifteen  minute  poses 
from  the  nude  or 
draped  model. 
These  quick  sketches 
often  afford  good 
action  poses  that  can 
be  carried  out  and 
used  to  great  advan- 
tage. See  Figs.  40  and 
41.  This  sketching 
will  be  most  helpful 
in  assisting  the  stu- 
dent to  obtain  a  pro- 
fessional touch  and 
an  individual  style. 

More  and  more 
stress  is  being  laid 
on  the  well-drawn 
figure  underlying  the 
fashion  drawing  and 
too  much  emphasis 


Page  Eight 


SKETCHING 


cannot  be  put  on  the  value  of  drawing 
this  figure  with  understanding  and  appre- 
ciation. Great  care  should  be  given  the 
study  of  hands 
and  feet,  as  these 
play  an  impor- 
tant and  telling 
part  in  fashion 
work.  See  Front- 
ispiece and  Figs. 
10,  27,  and  28. 

The  student  is 
advised  to  make 
copies,  by  way  of 
study,  from  the 
hands  in  Vander- 
poeVs  Human  Fig- 
ure and  then  to 
make  studies 
from  life.  It  is 
important  in  this 
work  to  observe 
from  which  side 
the  light  is  com- 
ing. (See  Figs. 
28  and  29.) 

It  is  practical 
to  make  the  life 
studies  in  a  loose, 
artistic  manner, 
in  charcoal,  chalk, 
etc.,  and  after- 
wards to  draw 
from  this  sketch 
another  figure, 
copying  the  pose 
and  keeping  the 
action,  but  refin- 
ing it  slightly,  to  make  an  attractive  fashion 
drawing  on  which  to  put  the  dress  from 
one's  costume  sketch .     See  Figs.  40  and  4 1 . 

Lutz,    in   his    book    entitled    Practical 
Drawing,  wisely  says: 


Fig.  12. 


"When  drawing  from  fife,  it  is  a  good 
plan  to  put  yourself,  in  the  same  pose  as 
the  model;  that  is,  imitate  as  well  as 
you  can,  the  ac- 
tion, the  disposi- 
tion of  the  limbs, 
and  the  pose  of 
the  head.  This 
mimicry  —  it  will 
only  be  that  some- 
times, as  you  will 
find  that  different 
persons  have  dif- 
ferent ways  of 
carrying  them- 
selves, and  you 
can  perhaps  only 
approximate  the 
pose  of  the  model 
— will  give  you  a 
better  understand- 
ing of  the  pose 
and  impress  itself 
on  you  mentally 
and  further  the 
work  of  pictur- 
ing it. 

"Note  how, 
when  the  hips 
slant  one  way, 
the  shoulders,  to 
counterbalance, 
incline  the  other 
way ;  and  the  head 
again  to  preserve 
the  balance,  tilts 
away  from  the 
falling  shoulder.  This  applies  to  the 
greater  part  of  poses.  Sometimes,  though, 
models  deviate  from  the  general."  This 
is  valuable  advice  to  observe  in  your 
work. 


Courtesy  of  N.Y.  Globe 
An  example  of  hat  illustration. 


SKETCHING  FROM  LIFE 


Page  Nine 


Figs.  13  and  14  show  two  treatments  of 
the  same  kind  of  sketch.  Fig.  13  is  done 
in  a  reahstic  way,  in  Fig.  14  the  conven- 
tional method  is  used.     In  Fig.  13    hght 


in  clear  water  color.  The  tempera  paint 
is  put  on  in  one  flat  tone  and  allowed  to 
dry ;  the  other  colors  are  then  put  on  over 
this     The  opaque  paint  has  the  advantage 


Fig.  13. — Complete  dressmaker's  sketch  done  in  trans- 
parent water  color. 

and  shade  have  been  considered  while  in 
Fig.  14  these  have  been  eliminated. 

Fig.   13  has  been  done  in  transparent 
water  color,  Fig.   14  is  done  in  tempera, 
an  opaque  or  body  color,  except  the  chif- 
fon, flesh  tones,  and  hair,  which  are  done 
*  With  flat  transparent  washes,  pencil  lines  often 


Courtesy  of  Henry  Block. 

Fig.  14. — A  dressmaker's  or  manufacturer's  sketch 
in  tempera  colors. 

of  being  able  to  be  worked  over.  It  is  best 
to  avoid  shading,  and  to  keep  to  flat  tones. 
In  this  sketch  the  folds  are  indicated  with 
strong  pencil  lines ;  this  same  line  effect  can 
be  done  with  lighter  or  darker  values  of 
the  tempera  used  for  the  garment.* 
are  used  most  effectively  in  making  a  colored  sketch. 


Page  Ten 

^;v       ■" 

-  \. 

SKETCHING 


^-'V 


\ 


•  h 


Fig.  15, 
The  illustrations  on 
this  page  show  one  of 
the  most  important 
things  to  be  considered 
in  all  kinds  of  draw- 
ing, whether  it  be  from 
life,  from  memory, 
chieing,  or  even  copy- 
ing, and  that  is  get- 
ting the  general  pro- 
portion and  action  of 
the  whole,  before  con- 


CouTtesy  of  the  Prang  Co. 
First  stage  of  sketch  of  dog. 


n 


V 


Courtesy  of  the  Prang  Co. 
Fig.  17. — Incorrect  way  to  start  a  sketch. 


CoiirUsy  of  Che  Prang  Co, 
Fig.  16. — Second  stage  of  sketch  of  dog. 

centrating  on  any 
one  part  in  detail ;  re- 
membering never  to 
--  _._  finish  one  part  before 

]  the  other  parts  are 

/  thought  out.    Fig.  17 

(  shows  the  danger  of 

fixing  your  attention 
on  the  outline.  It  is 
always  advisable  to 
block  in.  (See  Figs. 
15  and  18.) 


) 


)<^^ 


'%^i»<^ 


Courtesy  of  the  Prang  Co. 

Fig.  18.— First  stage  of  sketch  of  boy. 


Courtesy  of  the  Prang  Co. 

Fig.  19. — Sketch  of  boy  completed. 


DRAWING  WITHOUT  MODELS 

CHAPTER  TWO 


CHAPTER  TWO 


DRAWING  WITHOUT  MODELS 


9.  To  Set  Up  a  Well-proportioned  Fig- 
ure.-— It  is  best  to  understand  how  to  set 
up  a  well-proportioned  nude  figure  "out 
of  one's  head"  or  chicing  a  figure  as  it  is 
sometimes  called.  See  Fig.  21.  To  con- 
struct this  figure  find  the  centre  of  the 
paper,  through  which  run  a  vertical  line. 
The  head  is  the  unit  most  useful  in  meas- 


using  one  inch  as  the  unit  of  measure. 
This  gives  the  height  of  the  figure.  Mark 
each  of  these  divisions  with  a  dot.  The 
figure  is  divided  into  four  important  sec- 
tions; the  head,  torso,  arms,  and  legs. 
To  keep  the  drawing  as  simple  as  possible 
we  will  have  to  start,  in  some  detail, 
with  the  head,  it  being  our  unit  of  measure. 


Dratm  hy  Reta  Senger. 


CouTtesy  of  Good  Homekeeptng, 


Fig.  20. — Editorial  featuring  infants'  wear. 


uring  the  human  figure,  and  in  this 
instance,  we  will  use  it,  making  it,  for 
convenience'  sake,  one  inch  long.  (The 
dimensions  we  are  using  will  vary  slightly 
from  those  given  in  most  anatomies,  be- 
cause we  are  constructing  a  figure  to 
use  in  fashion  work,  where  slimness  is 
the  chief  requirement.)  Mark  off  on  this 
line  seven  and  one-half  heads,  in  this 
case  seven  and  one-half  inches,  as  we  are 


To  construct  the  oval  which  will  be 
used  for  the  head,  mark  off  the  first  inch 
and  divide  this  one  inch  vertical  line  into 
three  equal  parts.  At  a  point  just  a 
little  below  the  first  third  just  established, 
draw  a  light  horizontal  line  of  indefinite 
length  and  mark  off  on  it  a  distance 
equal  to  a  little  less  than  two-thirds  of 
the  one-inch  vertical  line  and  so  spaced 
that  the  vertical  line  exactly  bisects  the 


Page  Fourteen 


DRAWING  WITHOUT  MODELS 


horizontal  line.  Construct  an  oval  on  this 
plan. 

Horizontal  lines  drawn  through  the 
points  that  divide  the  vertical  line  into 
thirds  give  the  eyebrows  and  the  tip  of 
the  nose.  A  horizontal  line  drawn  through 
a  point  one-third  of  the  distance  between 
the  eyebrows  and  the  tip  of  the  nose 
marks  the  centre  of  the  eye  socket,  and  a 
horizontal  line  drawn  through  a  point 
one-third  of  the  distance  between  the  tip 
of  the  nose  and  the  base  of  the  oval 
marks  the  centre  of  the  mouth. 

Divide  the  horizontal  eye  structure  line 
into  five  parts;  the  middle  space  represents 
the  width  of  the  nose,  and  the  nearest 
parts  on  each  side  the  eyes.  Guide  lines 
dropped  from  the  centre  of  the  eyes,  ver- 
tically, give  the  corners  of  the  mouth. 
For  the  ears  extend  a  line  a  little  beyond 
the  oval  on  each  side  of  the  head,  from 
the  first  third  to  the  second  third,  or,  in 
other  words,  from  the  line  indicating  the 
eyebrow  to  the  line  indicating  the  end  of 
the  nose. 

Continue  the  bisecting  vertical  line 
down  one-third  of  its  length,  to  establish 
the  pit  of  the  neck.  Draw  a  horizontal 
line  through  this  point.  Drop  guide  lines 
from  the  base  of  the  ear  to  this  line. 
Connect  the  extremities  of  these  guide  lines 
with  arcs  curving  slightly  towards  each 
other,  thus  giving  proper  expression  to 
the  neck. 

10.  The  Torso. — Three-quarters  of  the 
length  of  the  head  gives  the  width  of  each 
shoulder  and  of  each  hip.  Cut  the  dis- 
tance between  the  chin  and  the  pit  of  the 
neck  in  half  by  a  dot  placed  on  the  centre 
line.  Connect  this  point  with  the  point 
made  in  marking  the  width  of  the 
shoulders.      The   point   where    this    line 


intersects  the  curved  line  of  the  neck  is 
where  the  neck  sets  on  the  shoulders. 

The  second  "head"  or  unit  of  measure 
gives  the  bust  line.  Curve  the  line  in- 
dicating the  bust  section. 

The  third  "head"  gives  the  placing  of 
the  abdomen. 

One-half  the  distance  between  the  bust 
and  abdomen,  or  between  the  second  and 
third  head,  is  the  waist  line.  Indicate 
this.  The  centre  of  the  figure  comes 
slightly  above  the  fourth  head,  this  is 
also  the  end  of  the  torso.  The  line  of  the 
hip  is  halfway  between  the  third  and 
fourth  head.  Establish  the  width  of  the 
hip  line  by  verticals  from  the  shoulders. 

11.  The  Legs.  The  knees  come  half- 
way between  the  hips  and  the  soles  of 
of  the  feet.  The  ankles  come  at  the 
seventh  head.  The  width  of  the  ankle 
is  one-third  the  width  of  the  hip  line. 
The  inside  ankle  is  high,  the  outside  ankle 
low.  The  calf  of  the  leg  is  about  one-half 
the  width  of  the  hip,  the  outside  calf 
of  the  leg  is  higher  than  the  inside  calf. 

12.  The  Arms. — The  length  of  the  arms, 
stretched  out  horizontally  including  the 
shoulders  and  the  hands,  equals  the  length 
of  the  body.  The  wrist  comes  at  about 
the  end  of  the  torso.  The  elbow  comes 
at  the  waist  lines.  The  pit  of  the  arm  is 
one  third  each  shoulder.  With  these  meas- 
urements established,  block  in  the  figure 
and  features. 

13.  Other  Positions  of  Head  and 
Figure.— The  diagram  of  a  woman's  fig- 
ure on  page  72  of  Dunlop's  Anatomical 
Diagrams  will  be  found  helpful  to  the 
student,  at  first,  in  blocking  in  the  figure. 

After  the  proportions  are  well  under- 
stood, the  figure  and  head  may  be  turned 
in  other  positions;    for  this  the  "tooth- 


THE  FIGURE 


IsT  HEAI> 


2nd  head 


Sbd  head 


4th  head 


6th  head 


6th  head. 


7th  head 


7iTH  HEAD. 


Page  Fifteen 


PIT  OF  ARM  ONE-THIRD  width 

OF  SHOULDER 

THE  WIDTH  OF  EACH  SHOULDER  IS 
THREE -  FOURTHS  LENGTH  OP 
HEAD 

SHOULDER  LINE  ow  pit  of  neck 

— ONE-THIRD  HEAD  BELOW  CHIN 


BREAST  LINE 


WAIST   LINE    ONE-HALF  WAT  BE- 
TWEEN 2nd  AND  3rd  heads 


ELBOW  LINE 

ABDOMEN 


HIP  LINE   one-half    way  be- 
tween 3rd  and  4th  heads 


END  OF  TORSO  a  little  above 
4th  head  whist  line 


KNEE  LINE  is  one-half  way 

BETWEEN  HIP  LINE  AND  SOLES 
OF  FEET 


ANKLE  LINE 


SOLES  OF  FEET 


Drawn  by  Gertrude  F.  Derby. 

Fig.  21. — Construction  of  fashion  figure  without  model. 


Page  Sixteen 


DRAWING  WITHOUT  A  MODEL 


Courtesy  of  Vogue. 


Fig.  22. — Modern  fashions  by  Helen  Dryden  which  show  influence  of  Kate  Greenaway. 


pick  figures"  (see  page  22)  make  a 
good  foundation,  helping  to  make  simple 
the  foreshortening  then  necessary.  For 
suggestions  for  turning  the  head  in  dif- 
ferent positions,  see  Fig.  23. 

14.  Children's  Proportions. — The  chart 
shown  in  Fig.  24  illustrates  the  propor- 
tions found  in  various  stages  of  devel- 
opment. In  infancy,  or  at  the  age  of 
about  six  months,  the  head  measures  about 
four  times  into  the  height;  at  four  years, 
the  head  measures  about  five  and  one- 
fourth  times  into  the  height;  at  seven, 
approximately  six  and  one-half  times;  at 
ten  years,  about  six  and  three-quarter 
times;  at  fifteen,  about  seven  times;  and 
in  the  adult  from  seven  and  a  half  to 
eight  times.  Children's  heads,  therefore, 
it  should  be  noted,  are  larger  in  propor- 
tion than  those  of  the  adult,  the  eyes  are 
wider  apart,  the  nose  shorter,  and  the 
lips  somewhat  fuller.  See  Fig.  22,  also 
Fig.  24  and  Figs.  20,  94  and  95. 

Professor  C.  H.  Stratz  of  The  Hague, 
Holland,  who  is  one  of  the  greatest  author- 

*  See  "  Happy  All  Day  Through,"  illustrated  by  Janet 
Caroline  Hunt  Rimmer. 


ities  on  the  human  body  in  the  world, 
says  a  child  grows  as  follows: 

First,  in  breadth  and  height  from  birth 
to  the  end  of  the  fourth  year. 

Second,  in  height  from  the  fourth  to 
the  beginning  of  the  eighth  year. 

Third,  in  breadth  from  the  eighth  to 
the  tenth  year. 

Fourth,  in  height  from  the  tenth  to 
the  fifteenth  year,  when  the  youth  gets 
lanky,  thin  and  angular;  this  is  the  period 
when  the  hands  and  feet  look  too  big. 
Growth  then  continues  to  manhood  or 
womanhood. 

In  drawing  children,  great  care  should  be 
taken  to  keep  their  legs,  at  the  slim  period, 
long  and  slender.  Care  must  be  taken  not 
to  make  them  developed,  which  detracts 
from  their  childlike  charm  and  makes 
them  look  vulgar.  In  studying  children, 
look  at  good  illustrations  by  Kate  Greena- 
way, Jessie  Willcox  -  Smith,  Elizabeth 
Shippen  Green,  Birch,  and  Helen  Dryden.* 

15.  Heads  and  Faces. — The  general 
shape    of    the    head    is    that   of    an    oval 

Laura  Scott,  and  also  "  Figure  Drawing  for  Children  "  by 


HEADS  AND  FACES 


Page  Seventeen 


Fig.  23. — Showing  construction  lines  that  help  in  drawing  heads. 

with  the  greatest  width  at  the  top;  ob-  of  the  nose  is  halfway  between  the  eye- 
serve  this,  too,  in  side,  three-quarter  and  brows  and  chin.  See  Fig.  23.  The  eye- 
back  views  of  the  head.  The  eyes  are  brows  are  on  a  level  with  the  top  of  the 
in  the  centre  of  the  head,  and  the  end  ear,  and  the  lower  end  of  the  ear  on  a 


H  Year 


7  Years  10  Years 

Fig.  24. — Proportion  of  figure  at  different  ages, 


Courteav  0/  Home  Pattern  Co. 
15  Years  Maturity 


Page  Eighteen 


DRAWING  WITHOUT  MODELS 


level  with  the  nostrils.  This  forms  a 
never-changing  axis  on  which  the  head 
turns  up  and  down. 
Note  how  the  fea- 
tures are  located 
in  these  changes, 
and  how  the  fore- 
shortening is  sim- 
plified by  means  of 
this  method.  In 
drawing  heads  al- 
ways use  the  centre  c^"^ 
and  other  construc- 
tion lines. 

When  the  head 
is  turned    up,    we 
see  more  chin  and 
less  forehead ;  when 
turned  down,  more 
forehead   and   less 
chin.   The  eyes  are 
one  eye  apart,  and 
the  lower  lip  ends 
at  about  half  the  distance 
between  the  nose   and 
chin.    A  triangle  is  helpful 
in  dividing  the  face  into 
planes,    and    great     care 
should  be   taken    not    to 
ignore  the  cheek,  jaw  and 
chin  bones.    Observe  that 
the     cheek     bones     come 
slightly   below    the   eyes, 
the  jawbone  slightly  below 
the  mouth. 

In  drawing  the  nose  it 
is  helpful  to  think  of  a 
little  round  knob;  from 
which  extend  the  nostrils, 
sketch  in  the  sides,  and 
extend  a  line  suggestive  of 
the  planes.    Afterwards  everything  can  be 


Fig.  26, 


rubbed  out  except  the  nostrils,  but  they 
will  appear  more  correctly  placed  than 
when  put  in  with- 
out this  foundation 
thought.  See  Fig. 
25. 

In  drawing  the 
mouth,  think  first 
of  a  Cupid's  bow, 
the  string  of  which 
is  broken  in  the 
centre;  then  sug- 
gest the  lower  lip, 
shade  the  upper 
lip,  which  is  always 
darkest  as  the 
lower  catches  the 
light,  and  you 
have  the  mouth. 
Never  make  a  hard 
line  around  the 
lips,  as  it  destroys 
the  flesh-like  qual- 
ity.    See  Fig.  25. 

In  making  the  eye,  al- 
ways hold  the  pupil  in  by 
the  line  of  the  lid.  Block 
in  the  head,  ears,  hands, 
and  everything  before 
putting  in  the  detail. 

Hair  should  be  expressed 
in  waves  of  light  and  dark, 
not  by  single  lines  (unless 
you  are  making  a  deco- 
rative, unrealistic  draw- 
ing). Never  draw  a 
clean-cut  line  between  the 
face  and  forehead,  because 
the  hair  in  many  places 
blends  in  with  the  tone  of 
the  face.  See  Fig.  26 
and  observe  other  drawings  that  show  hair. 


Courtesy  of  Vogue. 


HANDS  AND  FEET 


Page  Nineteen 


16.  Hands  and  Feet. — The   next   step  high,   using  the  Greek  Law  of  arrange- 

should  be  a  careful  study  of  the  hands  ment.     It  is  well  to  use  real  shoes  and 

and  feet.     The  drawing  of  these  is  sim-  slippers  for  models,  but  study  also  well- 

plified  by  looking  for  the  large    masses  drawn  examples  to  see  how  they  are  usu- 

first  and  blocking  them  in.     See  Figs.  27,  ally  rendered.     Notice  how  the  inside  of 


10,  and  28.  For 
example,  in  draw- 
ing the  hand,  deter- 
mine the  relation  of 
the  length  of  the 
fingers  to  the  palm, 
and  where  the 
thumb  comes  in 
relation  to  the 
fingers.  All  knowl- 
edge gained  by 
study  or  observa- 
tion from  life  will 
help  in  drawing  or 
chicing  them.  Van- 
derpoel's  Human 
Figure,  mentioned 
before,  has  some 
splendid  illustra- 
tions of  both  hands 
and  feet  that  the 
student  would  find 
it  helpful  to  study. 
One  good  way  of 
studying  them  is 
to  make  careful 
drawings  from  these  plates,  and  after- 
wards to  try  to  making  your  own  draw- 
ings first  from  life  and  then  from 
imagination.     See  Figs.  28  and  29. 

Shoes  are  extremely  important  in  fashion 
work,  and  should  likewise  receive  the 
careful  attention  of  the  student.  A  good 
way  is  to  group  five  or  seven  pairs  of 
shoes,  including  sport  shoes  and  slippers, 
in  different  positions  on  a  sheet  of  bristol 
board  about  11  inches  wide  by  14  inches 


Pig.  27. — ^Study  of  hands  by  Albert  Diirer 


the  foot  is  straight- 
er  than  the  outside 
line,  which  has 
some  curve.  Ob- 
serve also  liow 
much  shorter  the 
line  of  the  inside 
of  the  shoe  is  than 
the  outside  line, 
which  extends 
nearer  the  heel. 
See  Figs.  25  and 
11.  Note  that  the 
inside  ankle  is 
higher  than  the 
outside  ankle. 

It  is  well  to  ob- 
serve what  is  ap- 
propriate and  to 
select  shoes  of 
different  character. 
There  are  shoes  for 
shopping,  for  after- 
noon, for  evening, 
for  travel,  and 
for  sport.  You 
must  select  the  right  shoe  for  the  right 
dress.  The  footwear  must  be  in  keeping 
with  the  costume;  not  afternoon  shoes 
or  evening  slippers  with  a  sport  suit.  It 
is  usually  best  to  have  evening  slippers 
match  the  gown  and  hosiery  unless  you 
use  a  patent  leather  pump. 


In    these    days    we   cannot   make    the 
skirt  cover  up  bad  drawing  of  the  feet 


Page  Twenty 


DRAWING  WITHOUT  MODELS 


"^ 


^ 


Coinimy  of  The  Inhuid  Printer. 

Fig.  28. — Construction  of  Hand  from  Vanderpoel's  "  Human  Figure." 


ARMS 


Page  Twenty-one 


■ 

■ 

H 

■1^ 

^^|H 

^^^H 

|H 

^^^^^H 

^^^^^^H 

^^H .      ^^^1 

^^1 

^^^^^^^^^^H 

^^^^1 

^^y^*^^H 

'^1 

^^^^P^H 

^^^H 

9 

^^^^^^^^kII^I^h 

H 

^Fsl^ 

<'!3^^^M 

^^fl 

I 

y^  J^^ 

J 

^H 

Hj 

^V 

^1 

^^^^Ik-'<' 

1 

L 

1 

Courtesy  of  The  Inland  PriTUer, 

Fig.  29. — Construction  of  Arm  from  Vanderpoel's  "  Human  Figure." 


Page  Twenty-two 


DRAWING  WITHOUT  MODELS 


Walking. 


and  shoes.    No  longer  can  it  be  said  of 
Dame  Fashion  that 

"Her  feet  beneath  her  petticoat 
Like  little  mice  steal  in  and  out, 
As  if  they  fear  the  light." 

17.  The  Human  Form 
Reduced  to  its  Simplest 
Elements. — Relative  propor- 
tions and  helps  to  express 
action  can  perhaps  best  be 
acquired  by  observing  the 
following  facts  in  connection 
with  toothpick 
figures : 

The  trunk, 
thigh,  and  leg  are 
each  about  one- 
third  the  length 
of  the  body  with- 
out the  head  and 
neck,  though  the 
trunk  is  a  trifle 
the  longest.  The 
trunk  is  about 
twice  the  length 
of  the  head  and 
neck.  The  elbow 
reaches  to  about 
the  waist  and  the 
hand  half  way 
down  the  thigh. 

Walking  is  best  de- 
scribed on  paper  when 
both  feet  are  on  the 
ground,  though  in  reality 
the  greater  part  of  the 
time  the  body  rests  on 
one  foot.     See  Fig.  30. 

Running  is  best  shown 


Fig.  30 


Running. 


Leaping. 


Fig.  31. 
Jumping. 


Fig.  33. — Illustrating  balance. 


Leaping    is    best    shown    in    the    same 
manner  as  running  (limbs  ready  for  the 
next  effort),    but    with    the 
feet   off    the    ground    as    in 
jumping.    See  Fig.  31. 

Jumping  is  best  shown 
with  the  feet  off  the  ground 
but  gathered  together  to 
preserve  poise  and  ready  to 
alight  safely.     See  Fig.  31. 

A  stick   stands    when 
balanced  on  one  end  and  also 
when  supported 
on    each   side   as 
shown  in  Fig.  31. 
The  body  may 
be   bent    at    the 
hips  so  as  to  bring 
the  head  over 
either  foot  and 
maintain  an  up- 
right position  un- 
til the  weight  of 
the  body  is  bent 
beyond    the    line 
of  support,  when 
it  must  come  to 
the  ground   as 
shown  in  Fig.  32. 
Kneeling    fig- 
ures,    leaning 
back,  make  it  necessary 
that    support    be  given 
behind  as  shown  by  the 
vertical    dotted    line    in 
Fig.  33. 

The  student  should 
notice  that  a  straight  line 
extending  from  the  neck 
to  the  floor  comes   just 


Standing. 


when  one  foot  is  on  the 

ground,  though  in  reality  much  of  the  time     between    the   feet    when    the    weight    is 

both  feet  are  off  the  ground.    See  Fig.  30,     evenly  distributed  on  both  legs.     When 


THE  HUMAN  FORM 


Page  Twenty-three 


Figs.  34  and  35. 


Figs.  36  and  37. 


Toothpick  construction  applied  to  fashion  drawing. 


the  weight  is  on  one  leg,  the  plumb  line 
begins  at  the  pit  of  the  neck  (viewed  from 
the  front)  and  extends  to  the  ankle  of  the 
supporting  leg.  On  the  other  hand,  when 
the  figure  is  in  action,  the  plumb  line 
from  the  neck  falls  between  the  legs,  pro- 
viding a  proper  balance;  when  this  bal- 
ance is  destroyed,  the  figure  either  has  to 
be  leaning  against  something  or  it  falls  to 
the  ground.  See  Figs.  32  and  33.  After 
studying    these,    it  is  well  to  build   the 


figure  on  these  foundations  to  acquire 
action.     See  Fig.  34. 

In  Fig.  36  is  shown  a  seated  figure; 
the  stool  is  the  principal  part  of  support, 
though  the  foot  is  extended  to  receive  the 
weight  of  the  body.  Fig.  37  is  this  con- 
struction applied. 

Figs.  34,  35,  36  and  37  are  given  as 
illustrations  of  the  use  of  the  toothpick 
construction  in  giving  action  to  the  human 
form. 


\     /' 


-A- 


CouTtcsv  of  VoflJie 

From  a  drawing  by  Helen  Dryden,  in  which  pencil,  wash 
and  ink  were  used,  on  a  rough  texture  paper. 


METHODS 

CHAPTER    THREE 


CHAPTER  THREE 


METHODS 


(a) 


18.  The  Greek  Law. — In  the  sixteenth 
century,  in  the  days  of  the  Renaissance  in 
Italy,  Leonardo  da  Vinci  with  other  artists 
worked  out,  through  study  of  classic  art, 
an  ideal  proportion  which  is  commonly 
known  as  the  Greek 
Law.  Instead  of 
using  exact  me- 
chanical measure- 
ments, such  as 
the  half,  thu-d, 
fourth,  etc.,  so 
easily  measured 
in  inches  and 
easily  grasped  by 
the  mind,  this  law 
supplies  the  idea  of  a  consistent  variety,  so 
fundamental  in  all  artistic  things,  stimulat- 
ing the  imagination  and  lending  interest  to 
the  object.  Thus,  if  an  oblong  is  divided 
horizontally  in  half,  the  equal  areas  will 
be  found  both  mechanical  and  uninterest- 
ing, see  (a),  Fig.  38.  On  the  other  hand, 
if  the  difference  in  areas  is  great,  as  in 
(6),  Fig.  38,  the  sizes  are  too  incomparable 
to  be  satisfactory.  In  (c).  Fig.  38,  the 
oblong  has  been  divided  into  thirds  and 
then  into  halves,  and  a  point  found  some- 
where between  one-third  and  one-half, 
through  which  to  draw  a  horizontal,  shown 
by  the  heavy  line.  It  will  be  seen  that  the 
relation  of  the  areas  above  and  below  this 
line  to  each  other  are  neither  mechanical 
nor  monotonous,  but  subtle  and  interesting. 


(c) 


Fig.  38. 


These  same  proportions  may  be  prac- 
tically applied  in  clothing  to  tucks,  hems, 
etc.,  as  illustrated  in  Fig.  39.  Suppose  a 
line  is  drawn  six  inches  long  to  repre- 
sent a  muslin  skirt.  Divide  by  the  Greek 
Law  to  find 
where  any  trim- 
ming (hem  and 
tucks)  should 
start.  Re-divide 
the  space  given 
up  to  this  trim- 
ming to  obtain 
further  good  pro- 
portions (of  the 
hem  to  the  tucks). 
In  Advertising — Its  Principles  and  Prac- 
tices, published  by  The  Ronald  Press  Co., 
the  following  statement  is  made : 

"This  Greek  Law  of  proportion  is  some- 
times crudely  stated  as  the  ratio  of 
5  to  7  to  11.  This  is  somew^here  near 
correct,  and  perhaps  near  enough  to 
work  with.  In  applying  this  ratio  to 
the  margins  of  a  page  it  will  clearly  be 
seen  that  the  widest  margin,  or  11,  should 
appear  at  the  bottom,  the  next  widest, 
or  7,  at  the  top,  and  5,  the  narrowest, 
alike  on  either  side  in  all  vertical  com- 
positions of  space.  In  horizontal  com- 
positions the  widest  margin  should  still 
appear  at  the  bottom,  the  middle  size 
at  the  right  and  the  left,  and  the  nar- 
rowest at  the  top.     This  is  so  that  the 


Muslin  Tucks 


r 


^r 


^ 


H 


^ 


Fig.  39. 


Page  Twenty-eight 


METHODS 


general  form  of  the  display  within  the 
composition  shall  preserve  the  same  ratio 
as  is  found  in  the  enclosing  space  itself. 

"Not  only  should  the  Greek  Law  of 
areas  be  applied  to  margins,  but  also, 
when  possible  with- 
out interfering  with 
the  meaning  of  the 
copy,  it  should 
apply  to  the  width 
and  strength  of  the 
various  parts  or 
paragraphs  of  the 
copy  within  the 
space.  When  it  is 
possible  to  do  this, 
the  effect  is  doubly 
pleasing.  There  is 
also  often  a  chance 
to  apply  these  pro- 
portions  to  the 
blank  space  between 
different  parts  of 
the  copy  display. 
When  it  is  possible 
to  do  so,  this  has  an 
added  value.  Not 
enough  attention  is 
paid  to  the  relative  widths  of  these  blank 
spaces.  Blank  space  is  often  more  eloquent 
than  copy." 

Summarizing  the  above  briefly,  it  is 
to  be  noted  that : 

(1)  Mechanical  divisions  are  in- 
artistic. 

(2)  Sizes  too  unrelated,  such  as  a  very 
large  size  and  a  very  small  one,  fail  to 
satisfy,  as  the  mind  does  not  see  any 
relationship  in  things  that  emphasize  each 
other's  difference. 

(3)  Areas  or  sizes  near  enough  alike  to 
be  easily  compared  by  the  eye  and  yet 


y^^ 


Drawn  by  BstJier  Wegman. 


different   enough    to   interest    because   of 
their  unlikeness,  satisfy  us. 

(4)  Spaces  are  most  pleasing  together, 
when  one  is  between  one-half  and  two- 
thirds  the  length  or  space  of  the  other. 
This  gives  quite  a 
difference  in  size  for 
individual  treat- 
ment, but  avoids  in- 
harmonious lengths 
or  sizes  placed  to- 
gether. In  other 
words,  when  tv»-o 
lines  are  in  good 
relation  to  each 
;  other,  the  shorter 
line  is  between  one- 
half  and  two-thirds 
the  length  of  the 
longer  line. 

The  Greek  law 
may  be  applied  to 
the  margins  of  draw- 
ing papers  as  well 
as  to  folds  and  coat 
lengths.     The    best 


/:■ 


Fig.  40. — Quick  sketch  from 
life. 


Fig.  41  .—Costume  sketch    arrangement  of 

made  from  quick  sketch.  •       p  .  •      i 

margms  tor  a  vertical 
lay-out  is  to  have  the  greatest  width  at 
the  lower  edge,  the  next  at  the  top,  and  the 
smallest  at  the  sides ;  while  for  a  horizontal 
page  the  widest  margin  should  still  appear 
at  the  bottom,  the  second  size  at  the  sides, 
and  the  narrowest  at  the  top.  This  is 
to  preserve  a  like  relation  with  the  en- 
closed space. 

Design  is  selection  and  arrangement, 
and  from  the  start  of  any  work  the  details 
which  make  for  good  design  should  be 
kept  in  mind.  If  it  is  school  work,  even 
the  name  and  the  lesson  should  form  part 
of  the  plan.     Observe  how  the  enclosing 


LAY-OUTS  AND  REDUCTIONS 


Page  Twenty-nine 


form  determines  the  shape  within.  The 
nearer  one  comes  to  the  structural  edge, 
the  more  nearly  the 
lines  should  conform  to 
it.  Avoid  lines  that  lead 
to  corners,  lines  that 
lead  to  the  centre,  and 
lines  that  tend  to  be- 
come tangents.  The 
lines  of  the  background 
or  setting  should  be 
less  intense  than  those 
forming  the  object 
shown  against  them. 
The  larger  the  area  the 
less  intense  the  color 
should  be;  the  smaller 
the   area   the    more 


Rectangles 
are  in 


.    ,  ,1  1  Fig.  42.  —  Enlarging  and   reducing.      Rec 

mtense     tne    color    may    having  the  same  line  as  a  common  diagonal 

be.  In  order  to  have  two  proportion. 

or  more  shapes  hold  together  for  unity,     triangle.     A 

the  space  between  must  be  less  than  the     process,  using  the  dimensions  just  given 


the  printed  page  is  given  to  the  artist 
(for  example  eight  inches  high  by  seven 
and  one-quarter  inches 
wide)  and  the  number 
of  figures  to  be  put  in 
that  space  (say  five 
figures).  The  artist's 
work  is  to  compose 
these  figures  in  the 
most  attractive  group 
or  groups. 

The  first  step  is  to 
enlarge  the  dimensions 
to  a  convenient  work- 
ing size.  In  doing  this, 
the  original  proportions 
must  be  kept.  The  en- 
larging is  done  by  means 
of  a  drawing  board,  T- 
square,  ruler  and 
detailed    statement    of    the 


smallest  of  these  shapes. 
For  illustration,  the 
paths  of  a  garden  should 
be  smaller  than  the  di- 
visions of  the  garden 
shapes. 

19.  Lay-outs  and  Re- 
ductions. —  Lay-out  is 
the  technical  name 
given  to  the  composi- 
tion of  a  catalogue 
page,  and  the  drawing 
of  the  figures  which 
go  on  it.  It  is  also  ap- 
plied to  the  grouping  of 
any  objects  to  be  put 
in  a  certain  given  space, 
whether  for  magazines,  booklets  or  news- 
papers. The  height  and  width  of  the 
space  which  the  lay-out  is  to  occupy  on 


Fig.  43. — The  rough  lay-out. 


T-square  blade, 
corner,    measure 


is  as  follows: 

Draw  a  horizontal 
line,  say  two  inches 
from  the  top  of  the 
paper,  straight  across, 
using  the  T-square,  the 
head  of  which  is  held 
against  the  left  edge 
of  the  drawing  board. 
Next  measure  in,  let  us 
say,  two  inches  from  the 
left  side  of  the  paper, 
and  draw  the  vertical 
line  against  the  edge 
of  a  triangle,  the  base 
of  which  rests  against 
the  upper  edge  of  the 
At  the  left-hand  upper 
seven    and    one-quarter 


inches  to  the  right  and  eight  inches  down 


Page  Thirty 


METHODS 


with  the  ruler,  using  the  triangle  to  per- 
fectly complete  this  little  rectangle;  then 
draw  a  diagonal  and  determine  the  height 
desired  for  working  out  the  lay-out  and 
extend  a  horizontal  line  wherever  this 
horizontal  touches 
the  diagonal,  erect 
a  perpendicular  and 
the  dimensions  of 
the  large  and  small 
rectangles  will  have 
the  same  propor- 
tion. See  Fig.  42. 
Catalogue  pages 
often  go  through 
many  hands  before 
they  come  out  a 
technically  finished 
product,  photo- 
graphically perfect 
but  often  stiff,  in- 
artistic and  unin- 
teresting. There  is 
often  a  special 
artist  who  does 
nothing  but  lay- 
outs, grouping  the 
figures  and  plan- 
ning the  page  as 
in  Fig.  43 ;  another 
who  makes  sketches 
of  the  garments; 
another  who  draws  them  on  the  laid-out 
figures;  another  who  puts  on  the  large 
washes;  another  who  does  details  such 
as  lace  and  embroidery;  another  who 
finishes  the  heads;  and  still  another  who 
finishes  the  hands  and  feet.  See  Fig.  44; 
the  original  of  this  was  twenty-five  inches 
by  seventeen  and  three-quarter  inches. 
When,  however,  this  work  is  done  through- 
out by  one  expert  artist,  a  much  more 


Fig.  44. — Conventional  Catalogue  drawing 
work  of  several  artists. 


interesting  effect  is  obtained.  See  Fig. 
45,  the  original  size  of  which  was  12^ 
inches  wide  by  17f  high. 

Each  line  bounding  the  lay-out  should 
be  touched  by  some  part  of  some  figure. 
The  better  the  lay- 
out artist  the  less 
space  will  be  wast- 
ed. It  will  be  found 
advisable  to  give 
the  centre  to  the 
figure  with  the 
darkest  clothes,  as 
this  is  found  most 
agreeable  to  the 
eye,  and  also  sets 
off  the  other  fig- 
ures to  advantage. 
The  law  of  per- 
spective requires 
that,  if  there  are 
smaller  figures, 
these  should  be 
nearer  the  top  of 
the  page.  The 
effect  is  like  a 
staircase ;  when  one 
stands  below,  those 
at  the  top  seem 
smaller  than  the 
people  nearer  the 
foot  of  the  stairs. 
For  the  principles  of  general  composition 
which  underlay  all  design,  the  student 
will  find  it  helpful  to  read  Pictorial  Com- 
position, by  Henry  A.  Poor;  Principles 
o/Dmgrii,  by  Batchelder;  Composition,  by 
Arthur  Dow,  and  Principles  of  Advertising 
Arrangement  by  Frank  Alvah  Parsons. 

20.  Mechanical  Helps  and  Short  Cuts. 
— Before  taking  up  ink  and  wash  render- 
ing, certain  mechanical  helps  and  short 


Courtesy  of  John 


The  combined 


MECHANICAL  HELPS 


Page  Thirty-one 


cuts  to  results  and  effects  must  be  con-  texture,    the    smooth    white    with    black 

sidered,  such  as  Ben  Day  rapid  shading  texture,    and   the   cross-ruled   blind   with 

mediums,  Ross  Board,  spatter,  air  brush  black  texture.     A  knife  and  pencil  are  the 

and    silver  prints.     Ben  Day   is   a  great  tools    used    to    obtain    effects   with   this 

time-saver,  as  can  be  seen  from  even  the  paper.      See   Fig.   48.      In  the    first,    the 
few  samples  shown 


in  Fig.  49  of  some 
of  the  complicated 
textiles  and  half- 
tone effects  obtain- 
able in  the  line  cut 
or  ink  drawing. 

When  Ben  Day 
is  desired,  the 
places  where  it  is 
to  be  used  are 
colored  with  a  blue 
pencil  or  blue 
water  -  color  wash 
and  marked  with 
the  number  of  the 
texture  wanted; 
the  engraver  with 
the  Ben  Day 
machine  does  the 
rest.  See  Fig.  49, 
and  the  floor  and 
hat  in  Fig.  77, 
showing  Ben  Day 
stipple.  Notice  the 
difference  between 
these  and  Fig.  50, 
done  by  hand;  observe  particularly  the 
greater  irregularity  of  line.  When  two  or 
more  printings  are  made  the  Ben  Day  can 
be  put  on  in  color,  but  this  necessitates 
two  or  more  plates  according  to  the 
number  of  colors  used.  See  Fig.  97  in 
which  two  plates  were  used. 

Ross  Board  comes  in  a  variety  of  designs. 
The  three  most  used  kinds  are  perhaps 
the  plain  white  with  raised  or  embossed 


Fig.  45. 


stipple  effect  is  ob- 
tained by  rubbing 
the  pencil  over  the 
plain  white  and 
the  raised  surface, 
which  in  this  case 
consists  of  dots. 
These  catch  the 
lead  and  a  stipple 
effect  is  the  result. 
In  the  second, 
white  can  be  ob- 
tained by  scraping 
off  the  surface  and 
a  darker  tone  by 
rubbing  a  pencil 
on  the  rough  sur- 
face. Two  effects 
can  be  obtained 
with  the  third ; 
with  the  knife,  the 
stipple  surface; 
with  the  pencil, 
the  fine  check. 
Black  can  be  put 
on  with  ink.  This 
makes  possible  an 
even  gradation  from  white  to  dead  black. 
Fig.  48.  Fig.  46  shows  a  finished  Ross 
board  drawing. 

Spatter  work  is  done  with  a  toothbrush, 
and  makes  good  flat  tone  effects  for  tex- 
tures, posters  and  backgrounds.  Cover 
the  entire  drawing,  except  the  parts  to 
be  spattered,  with  paper,  cutting  out  these 
to  make  what  is  practically  a  stencil 
(tracing  paper  fastened  down  with  rubber 


Courtesy  of  John  Wanamaker 
Catalogue  drawing,  the  work  of  one  artist  from 
start  to  finish. 


Page  Thirty-two 


METHODS 


cement    is    convenient).     First,    dip    the 

toothbrush    in  a  saucer    of  ink,  hold    it 

facing   the   paper   and    about   three   feet 

away,  and  draw  the  edge  of  a  penknife 

or  the  handle  of  a  pen  or  brush  over  the 

bristles  toward 

you,  letting  the 

spatter  fly  onto  the 

drawing.     With  a 

little  practice  this 

can  be   done  very 

skillfully.    See  Fig. 

47. 

The  texture  of 
rough  paper  often 
gives  interesting 
effects  in  the  repro- 
duction of  a  draw- 
ing; for  this  rea- 
son crayon,  pencil, 
charcoal,  and  even 
wash  drawings  are 
sometimes  done  on 
what  is  called  a 
paper  with  a 
tooth,  such  as  a 
charcoal  or  other 
Fig.  45. 

The  air  hnish  gives  either  an  even  or  a 
varied  tone,  as  desired,  and  in  the  doing 
of  half-tone  shoes  it  is  found  very  useful. 
It  is  really  an  atomizer  run  by  pressure,  and 
by  its  use  a  great  variety  of  tone  can  be 
obtained.  See  Fig.  55.  As  in  spatter  work, 
the  surface  of  the  paper  to  be  kept  white 
is  covered.  Frisket  paper,  which  is  thin 
and  transparent,  is  used  for  this  purpose 
and  pasted  down  with  rubber  cement. 
When  the  rubber  cement  is  thoroughly  dry 
it  may  be  rubbed  off,  leaving  a  perfectly 
clean  surface.  The  effect  is  photographic 
and  mechanical.    See  Fig.  54. 


Fig.  48. — ^Drawing  on  Ross  Board,  reduced  from  an  8j 
high  by  7"  wide  original. 


rough    paper.     See 


The  silver  print  method  is  often  used 
for  making  line  cuc^  or  pen  drawings  of 
shoes.  For  this  purpose  a  silver  print 
photograph  is  made  in  a  size  convenient 
to  work  over  on  Clemmon's  plain  salted 
"•  paper  and  mounted 
on  cardboard  to  get 
a  smooth  surface 
for  drawing.  Out- 
lines are  then  care- 
fully traced  with 
the  usual  drawing 
pens  and  India-ink, 
doing  deep  shadows 
first  and  gradually 
working  up  to  the 
high  lights.  When 
finished,  the  silver 
or  photograph 
color  is  bleached 
away  by  pouring 
over  it  a  saturated 
solution  of  bichlo- 
ride of  mercury. 
This  leaves  the 
pen  lines  clean  and 
upon  a  perfectly  white  sheet  of 
When  dry,  the  result  should  be 


Courtesy  of  QuiU  Magazine 


sharp 

paper. 

compared    with   the   original    photograph 

and    touched    up  where    necessary.      See 

Fig.  52. 

21.  Tracing. — Tracing  is  often  found 
necessary  and  is  a  time-saver  in  doing 
repeats,  etc.  Graphite  paper  gives  a 
better  line  in  transferring  than  carbon 
paper. 

The  pencil  should  be  kept  very  sharp 
when  tracing  and  a  hard  pencil  is  good 
for  doing  the  transferring  through  the 
carbon.  Ruled  squares  are  useful  to  put 
under  thin  paper  in  doing  some  kinds  of 
designs. 


Page  Thirty-three 


Fig.  48. — Ross  Board:     Embossed  white,  black  and  white  texture  and  cross  rules. 


"No.  317 

-9'4'f 

9H- 

WM\ 

Mt  I 

^ii 

m 

No.  318.— 9^4  X  14^. 


No.  319.-9I4X14I4 


No.  337-— 9*4  X  i4'4- 


No.  322.— 6 J4  XII. 


No.  323— 6^4  X  ! 


No.  324-— 6M  XII 


No.  325.-654x11. 


THn^ 

'-  T 

=r  ' 

Tf 

ti 

m 

:I 

i ; 

1 

No.  326. — 654x11 


No.  327-— 6J4  X  I 


'mmmm 


y/.^^yy/yy/yyACf^yM 


No.  329-— 9J4  X  14:4. 

tt 

4= 

i 

J 

=  = 

No.  330-— 9'A  X  1454- 


No. 

33I.-9J4  X  14^. 

No.  332.— 9'A  X  I4J4. 


^'o.  333-— 9^4  X  14!4- 


No.  334-— 9J4  X  I4J4. 


No.  335-— 9^  X  I4J4. 
Fig.  49. — Some  samples  of  Ben  Day. 


No.  336.— 9J4  X  I4J4- 


No.  338.— 6^x11. 


Page  Thirty-four 


METHODS 


Fig.  50. — Stipple  work  done  by  hand 


Stipple,  which  takes  a 
long  time,  is  done  by  dots 
made  with  the  point  of  a 
pen.  When  a  flat  tone 
effect  is  desired,  it  is  often 
produced  by  sets  of 
circles  running  into  each 
other.  See  Fig.  51.  If 
large  dots  are  required,  it 
will  be  found  convenient 
to  use  a  ball -pointed  pen. 
Artistic  and  interesting 
effects  can  be  obtained  in 
this  manner.     See  Fig.  50. 

22.  Silhouette. — In  do- 
ing silhouettes  the  follow- 
ing   statement    made    by 
Miss    Harriet    Lord, 
the  silhouette  portrait 
artist  some  time  ago 
in    the     Tribune,     is 
helpful  commercially, 
and    her    permission 
has  been   secured  to 
quote  it: 

"Perhaps  no  one 
has  demonstrated 
more  clearly  than 
Miss  Lord  the  im- 
portance of  the  pose 


Fig.  51. — Detail  of  stipple. 


Fig.  52 


y  ul  Abraham  js 

of  a  head,  how  much  ac- 
tion, what  varying  humor, 
may  be  found  in  the  way 
in  which  a  head  is  perched 
on  a  person's  shoulders. 
A  little  boy  whom  she  has 
portrayed,  Fig.  57,  holds 
his  neck  perfectly  rigid 
with  head  raised  in  the 
back  and  lowered  in  front. 
One  can  feel  the  restrained 
life  in  the  little  chap,  the 
unusual  quality  of  his 
attentive  attitude  fostered 
by  some  engrossing  in- 
terest outside. 

"There  are  ever  so 
many  things  to  re- 
member in  making 
silhouettes.  Certain 
persons  cannot  be 
pictured  in  this  posi- 
tion, for  in  many 
persons  profile  means 
little;  it  is  the  eyes 
or  something  in  the 
drawing  of  the  full 
face  that  is  indicative 
of  the  true  personality. 
Many  faces   are  im- 


SILHOUETTE 


Page  Thirty-five 


mobile  and  one  must  look  to  their  eyes 
for  character.  They  cannot  be  well  sil- 
houetted. Little  points  must  be  re- 
membered such 
as  in  this  little 
girl,  Fig.  58.  You 
see  her  hair  is 
down  her  back, 
but  I  have  allow- 
ed a  spot  of  light 
to  shine  through 
to  give  the  out- 
line in  suggestion 
of  her  neck.  Not 
to  have  done  this 
would  have  made 
an  awkward  line 
and,  more  impor- 
tant, a  line  that 
was  not  satisfac- 
tory, for  it  al- 
most hinted  at  a 
falseness  or  ap- 
parent abnormal- 
ity. The  chair 
on  which  a  person  is  seated  must  be 
examined,  for  it  must  not  melt  into  the 
person's  figure  with  puzzling  results. 
And  it  is  well  to  break  in  with  lights. 


Fig.  53. 


for  they   add   character  and  life  to   the 
drawing. 

"And  then,  too,"  explained  Miss  Lord, 
"one  is  startled 
to  find  how  much 
each  line  and 
curve  of  the  face 
means.  Nothing 
is  ignored  and  a 
slightly  upturned 
lip  may  be  the 
touch  that  gives 
an  unmistakable 
note  of  character- 
ization to  the 
cutting  or  inking." 
The  silhouette 
is  a  very  quick 
method  of  gaining 
an  effect,  being 
merely  an  outline 
sketch,  usually 
profile,  filled  in 
with  black  ink. 
See  Figs.  57  and 
58.  White  is  sometimes  successfully  added 
as  in  Fig.  5Q. 

Half-tone    figures    are    said    to    be    sil- 
houetted when  the  white  paper  appears 


Courtesy  of  John  Wanamater. 
-Catalogue  page. 


Fig 


Courtesy  of  J.  J.  Staler. 
54  — Shoes  shaded  with  air  brush. 


Fig.  55. — Effect  produced  by  use  of  an  air  brush. 


Page  Thirty-six 


METHODS 


as  the  background.  A  silhouette  is  a  design 
sharply  defined;  the  clear  outlines  of  the 
drawing  coming  directly  against  the  paper 
on  which  it  is  re- 
produced. Fig.  69. 
A  vignette  is  a  sil- 
houette having  at 
the  base  or  behind 
the  figure,  or  in 
some  part  of  the 
design  of  the  figure, 
a  wash  that  disap- 
pears in  a  vague 
shadowy  effect.  This 
wash  is  reproduced 
only  in  tone  and  has 
no  definite  line 
marking  its  edges,  which  end  in  an  indefi- 
nite vagueness  (such  as  the  veil  ends) 
and  the  shadow  background.  See  Fig.  63. 
23.  Construction  of  the  Circle.— It  is 
understood  that  a  circle 
is  made  with  a  compass, 
and  an  ink  circle  usually 
with  a  ruling  pen.  In 
speaking  of  pens,  we 
might  say  here  that 
there  are  many  kinds  of 
lettering  pens,  which  will 
be  found  serviceable, 
when  such  work  is  re- 
quired. Good  books  on 
lettering  are :  Writing  and 
Illuminating  and  Lettering, 
by  Edward  Johnston,  and 
the  booklet  called  Book  of 
Alphabets,  by  H.W.  Shay- 
lor.  There  are  other  good 
books  on  this  subject  by 
Lewis  F.  Day  and  Frank 
Chauteau  Brown. 
24.  Constructing  an 


Fig.  56. — Black  and  white  silhouette  used  by  the  Fulton 
Theatre  to  advertise  "The  Misleading  Lady." 


Councsy  ofN.  Y.  Trttune. 

Fig.  57.— Silhouette 

by  Harriet  Lord. 


Ellipse. — With  a  compass  measure  from 
A  to  B,  Fig.  59,  then  put  the  compass 
at  C  and  strike  a  circle  as  indicated  by 
the  dotted  line  from 
D  to  E.  Where  the 
circle  intersects  the 
horizontal  line  at  D 
and  E,  place  pins. 
See  Fig.  60.  Also 
at  the  point  C 
stretch  a  thread 
from  E  to  D  around 
C,  and  tie  at  C. 
Remove  the  pin  at 
C,  and,  holding  the 
pencil  perpendic- 
ularly, describe 
the  ellipse  shown,  see  Fig.  60. 

25.  Swipe  Collections.* — Swipe  collec- 
tions is  the  commercial  and  expressive 
term  for  what  most  artists  call  documents, 
and  this  is  one  of  the  most  important 
items  under  the  list  of  materials.  It  con- 
sists of  examples  clipped  from  all  sources — 
catalogues,  booklets,  maga- 
zines and  newspapers — 
illustrating  different  tech- 
nique and  the  expression  of 
numerous  textures,  plaids, 
stripes,  vel- 
ve t s  and 
detail  of  all 
kinds.  These 
are  not  to 
be  used  as 
copies,  but 
as  a  teacher, 
showing  ways 
that  have 
been  used 
with  success. 

.  .  Courtesy  of  N .  Y .  Tribune. 

Copying    IS     Fig.  58 —Silhouette  by  Harriet  Lord. 


*  In  classifying  documents  for  reference  in  boxes  or  envelopes,  these  headings  will  be  useful:  Men,  Women,  Children, 
Animals,  Flowers  and  Fruit,  Outdoor  Scenes,  Furnitiu-e  and  Interiors,  Decorative  Subjects  and  Page  Decorations,  Color 
Plates  and  Booklets. 


TEXTURES 


Page  Thirty-seven 


one  way  of  studying,  but  is  advisable 
only  when  done  with  intelligence.  See 
illustration  of  a  "swipe,"  Figs.  61  and 
62,  63  and  64,  showing  a  case  in  which  one 
drawing  suggests  the  pose  for  another. 

26.  Textures. — 
In  illustrating 
black  material  in 
pen  and  ink,  con- 
sideration must  be 
given  to  whether 
it  is  a  shiny  tex- 
ture with  many 
high  lights,  or  a 
dull  black  silk  or 
velvet,  with  little 
or  no  shimmer. 
The  supporting 
points  usually 
catch  the  light, 
and  it  is  here  that 
the  whites  are  left 
or  put  in.  The 
trimming  has  to 
be  kept  light,  to 
show  the  detail. 
See  Figs.  65  and 
66. 

Stripes  and 
plaids  are  both 
done  in  a  manner 
to  give  the  best 
expression  pos- 
sible to  the  special 
design  to  be  re- 
presented. Complicated  designs  often  have 
to  be  greatly  simplified  for  reduction, 
and  care  must  be  taken  to  give  the  gen- 
eral effect  in  the  most  telling  way.  See 
Fig.  67.  Shepherd  plaid,  when  carefully 
done,  is  often  made  by  drawing  small 
cross    stripes    in    pencil,    and    filling    in 


Fig.  60. — Constructing  an  ellipse 


alternate  square  spaces  with  black.     See 
Figs.  67,  68  and  93. 

Dotted  and  flowered  materials  should 
not  be  expressed  in  a  helter-skelter  manner, 
but,  for  satisfactory  results,  should  be 
thought  out  in 
an  orderly  way, 
using  imaginary 
squares  or  dia- 
monds for  a  foun- 
dation. See  Figs. 
7, 8, 68, 69  and  83. 
Chiffons  must 
keep  their  trans- 
parent quality, 
usually  expressed 
by  a  delicate  line. 
Chinese  white, 
when  used  dis- 
creetly, is  often 
helpful  for  this 
purpose. 

Laces  and  em- 
broideries  are 
carried  out  either 
in  detail  or  in 
sketchy  way,  ac- 
cording to  require- 
ments. When  the 
drawing  is  needed 
to  advertise  a 
particular  lace, 
greater  detail 
must  be  given 
than  when  ad- 
vertising the  pattern  of  a  dress  in  which 
any  kind  of  lace  can  be  used.  See  Fig.  72. 
When  the  lace  is  to  be  done  for  repro- 
duction in  half-tone — in  other  words,  when 
in  wash  drawing — in  an  elaborately  worked 
out  way,  i.e.,  catalogue  wash,  a  dark 
background  is  made  (for  white  lace)  and 


Page  Thirty-eight 


METHODS 


the  lace  is  worked  out  in  Chinese  white 
over  this  dark  ground.     See  Fig.  68. 

Wash  work  embroidery 
is  also  done  with  Chinese 
white,  but  the  background 
differs  in  tone  according  to 
the  sheerness,  while  the 
solidity  of  the  pattern  is 
indicated  by  heavier  lines 
on  the  shadow  side.  For- 
tunately, even  in  catalogues 
of  the  better  character, 
more  is  being  left  to  the 
imagination,  giving  a  much 
less  stilted  effect. 

Side  plaits,  box  plaits, 
tucks,  gathers,  etc.,  are  all 
drawn  the  way  they  really 
look  in  realistic  drawings. 
See  Fig.  7  for  decorative 
treatment.  They  are  also 
made  simpler,  see  Figs.  70 
and  71. 

Stitching  is  expressed  by 
a  straight  line  or  a  line  of 
dots,  though  there  are  sev- 
eral different    ways    of 
making  them.     See 
Fig.  7. 

Fur  is  done  in  masses 
of  lustrous  dark  and 
light  with  a  soft  irreg- 
ular edge,  avoiding  too 
"liney"  an  effect.  The 
treatment,  in  fact,  is 
much  the  same  as  for 
feathers  and  human 
hair.  See  Figs.  26,  74, 
and  75.  In  decorative 
drawings  many  different  ways  of 
rendering  are  used,  sometimes  a  line, 
sometimes  dots,    and    sometimes   a   com- 


bination 
Fig.  71. 


of    the    two    being     used.    See 


Fig.  62 


Courtesy  of  Gimbel  Bros 

The  adaptation. 


To  express  textures  well, 
the  student  should  cultivate 
a  love  and  appreciation  for 
them.  It  is  good  to  handle 
them,  study  them,  and  ob- 
serve them  at  home,  in 
shops,  in  the  street,  at 
plays,  in  museums  and  in 
pictures,  noticing  the 
weight  they  have,  the  folds 
they  make  and  the  lines 
they  take.  Still-life  studies 
of  them  are  helpful. 

Very  interesting  for  the 
study  of  drapery  are  the 
drawings  of  Albrecht  Durer. 
See  Fig.  109.  Observe  the 
supporting  points.  Of 
course  there  are  many  dif- 
ferent methods  of  treatment 
as,  for  example,  the  way 
one  would  treat  a  decora- 
tive drawing  as  opposed  to 
how  one  would  treat  a  real- 
istic one.  See  Figs.  70, 
71,  and  72. 

27.  Pen  and  Ink.— 
Pen  and  ink  is  a  very 
interesting  and  much 
used  medium  in  fashion 
work.  It  may  be  di- 
vided into  several 
headings  as,  work  for 
newspapers,  for  maga- 
zines, and  for  catalogues. 
And  these  again  may  be 
subdivided  into  groups. 
For  instance,  there  is  the  pen-and-ink 
neicspaper  proper  style.  This  is  paid  for 
by  the  newspaper  and  is  often  done  in  a 


PEN  AND  INK 


Page  Thirty-nine 


broad,  bold  way  with  no  particular  at- 
tention given  to  seams  or  texture. 
This  is  also  known  as  editorial,  be- 
cause under  charge  of  fashion  editors. 
See  Fig.  73. 

There  is  newspaper  pattern  dravnng. 
This  is  paid  for  by  the  pattern  com- 
pany, and  here  more  attention  is  given 
to  seams,  tucks,  darts,  and  the  like  than 
to  texture.     See  Fig.  76. 

Again  there  is  department  store  adver- 
tising.    This   is    paid    for    by    the    de- 


FiG.  64. 


Courtesy  ( 
-The  adaptation. 


Courtesy  of  N.  Y.  Globe. 

Fig.  63.— The  original— An  example  of  vignette. 


partment  store,  and  here  seams 
are  ignored  and  attention  concen- 
trated on  texture,  and  expression 
of  the  style.  See  Fig.  77.  This  is 
sometimes  done  in  a  more  general 
illustrative  way,  as  in  headings, 
or  for  a  service,  when  the  same 
illustrations  are  used  in  stores 
throughout  the  country;  then  the 
idea  is  expressed  in  an  abstract 
way.     See  Fig.  78. 

A  good  deal  of  space  is  often 
devoted  to  the  newspaper's  own 
drawing,  while  the  pattern  drawing 
is  usually  given  a  column  or  two, 
and  there  is  not  quite  so  much 
stress  laid  on  the  filling  of  space  in 
either  of  these  cases  as  in  the  de- 
partment store  work.  See  Figs.  73 
and  77,  Ben  Day  often,  and  wash 
sometimes,  are  combined  with  news- 
paper pen  and  ink. 

Magazines  have  the  same  three 


Page  Forty 


METHODS 


classes  of  pen-and-ink  drawings  and  the 
same  principles  hold  true.  See  Figs.  70,  71, 
79,  and  83.  The 
magazines,  how- 
ever, are  printed 
on  superior  paper 
and  with  better  ink, 
so  that  charming 
effects  with  deli- 
cate  washes, 
which  would  be 
entirely  lost  in 
newspaper  re- 
production, can 
be  obtained.  See 
Fig.  81.  Ben 
Day  is  used  with 
great  success  in 
magazines.  See 
Figs.  79  and  97. 

In  the  best 
pen-and-ink 
work  for  cata- 
logues and  ad- 
vertising, care  is 
taken,  not  only 
to  suggest  text- 
ure and  detail, 
but  to  express 
the  general  char- 
acterisfcs  of  the 
garment  and  its 
special  charm. 
A  good  example 
isgiveninFig.72, 
which  was  used 
for  catalogue  and 
also  magazine 
advertising. 

Pen-and-ink  work  for  pattern  catalogues 
is  usually  done  in  a  stiffer  way  than  that 
done  for  magazines  and  newspapers.     This 


Counesy  of  Globe. 
Fig.  65.— Illustrating  dull 
black  material. 


is  because,  in  the  great  care  used  to  show 
every  seam  and  detail  ,^  much  of  spontaneity 
is  often  lost;  nev- 
ertheless great 
improvement  in 
this  matter  has 
been  made  of  late 
by  a  number  of 
the  pattern 
houses,  as  is 
shown  in  the 
careful  little 
drawing  of  un- 
derwear, Fig. 
82,  but  which 
still  seems  very 
stereotype  in 
comparison  to 
Fig.  97. 

Decorative, 
or  more  or  less 
unrealistic  tech- 
nique, has  been 
used  much  more 
of  late  in  both 
newspaper  and 
magazine  edito- 
rials and  adver- 
tising work,  but 
it  is  not  often 
used  in  pattern 
drawing,  be- 
cause  of  the  ex- 
actness usually 
required  for  this 
type  of  work. 
This  decora- 
tive work,  while 
so  simple  and 
permitting  of  a  certain  uniqueness, 
requires  even  a  greater  knowledge  of 
drawing   to   do   it  successfully   than   the 


-Illustrating  shiny 


Fig.  66 

black  material. 


PEN  AND  INK 


Page  Forty-one 


p 

'»  V 

■ 

\ 

^^K 

s   "' 

\ 

KI76 

^ 

CourUsy  of  Stern  Bros. 
Fig.  ti7. — Lay-out  illustrating  methods  of  rendering,  stripes,  plaids,  checks,  etc. 


Page  Forty-two 

naturalistic  work, 
where  mistakes 
are  sometimes 
hidden. 

In  this  decora- 
tive work  beauty 
of  line  and  in- 
teresting spotting 
is  given  great 
consideration. 
The  effect  is  ob- 
tained by  the 
fewest  lines  pos- 
sible, and  very 
interesting  work 
of  this  type  can 
be  found  in  pen- 
and-ink,  wash  and 
color.  This  style 
of  work  was  first 
made  popular  by 
Aubrey  Beardsley, 
see  Fig.  85,  and 
the  student  would 
find  it  profitable 
to  see  his  illustra- 
tions of  Sir  Thomas 
Mallory's  Morte 
d' Arthur,  Brunel- 
leschi's  illustra- 
tions of  La  Nuit 


•  «  •  •  vlfe 
••• • •• 

1^  ••••••••• 


I •• •• t • •••• 


ings  of   George 
Barbier   (some  of 

which     can     be  Fig.  68.— Catalogue 

*  Also  "  East  of  the  Sun  and  West  of  the  Moon,"  a 


z 

F 


f 

ft.coHor 

r^  ' 

1       f  *' 

i^  :  ^  ;  ^  ;  ^. 

-.,_^_M. 

detail  done  by  Samuel  Cohen. 


METHODS 

seen  in  Album 
Dedie  a  Tamar 
Karsavia),  Le- 
pape  and  Erte, 
all  show  the  in- 
fluence of  Aubrey 
Beardsley  and 
should  be  studied 
by  the  fashion 
artist.  See  Figs. 
70  and  71. 

Headings  and 
page  decorations 
are  often  required 
by  the  department 
store  fashion  art- 
ist, see  Fig.  84, 
and  here  is  the 
place  where  good 
ideas  are  at  a 
premium.  For 
this  reason,  other 
people's  ideas 
should  be  con- 
sulted, studied 
and  weighed,  and 
something  plaus- 
ible and  catchy 
worked  up.  The 
same  thing  holds 
true  of  feature 
cuts  or,  in  other 
words,  white 
sales,  silk  sales, 
toys,  etc.,  and 
these  do  not  want 
to  be  omitted 
from  the  swipe 
collection — not 
that  you  are 
going  to  copy 


d  Fauy  Tales  by  Hans  Andersen  illustrated  by  Harry  Clarke. 


INDIVIDUALITY 


Page  Forty-three 


them,  but  that  they  may  give  you  an  in-     straight,  even  Hne  is  desired,  satisfactory 

spiration.  results  will  be  obtained   by  keeping  the 

In  doing  pen  and  ink  the  beginner  will     right  arm,  from  the  elbow,  resting  on  the 


find  Gillott's  170 
pen  or  Gillott's  303 
pen  most  useful. 
Because  of  their 
firmness,  it  is  easier 
at  first  to  gauge 
your  line.  After- 
wards the  Gillott's 
290  and  291  pens 
will  be  found  very 
-agreeable  to  work 
with  because  of 
their  elasticity. 
Higgins'  waterproof 
ink  is  useful  where 
wash  is  to  be  com- 
bined with  the  pen 
and  ink,  but  many 
people,  for  general 
use,  prefer  Higgins' 
non-waterproof  and 
French  black  ink. 
Use  two-  or  three- 
ply  Bristol,  plate 
(or  smooth)  finish 
if  for  ink  alone,  kid 
finish  if  washes  are 
to  be  added.  Very 
good  effects  can  be 
obtained  with  ink 
and  a  brush,  see 
Figs.  73  and  86. 

A  large  drawing 
board  placed  at  the 
right  angle  against 
a  table  will  give  better  results  than  the 
board  flat  on  the  table.  Usually  speaking, 
it  is  best  to  work  from  the  top  down 
and  from  left  to  right,  but  when  a  long, 


Drawn  by  Reta  Senger.  Courtesy  of  Good  Housekeeping  Magazine. 

Fig.  69. — A  silhouetted  half-tone  drawing. 


board  and  drawing 
away  from  you.  Do 
not  get  your  lines 
too  close  together. 
Observe  the  differ- 
ence between  a  dry, 
harsh  line  and  one 
full  of  variations 
of  color.  Practice 
beginning  a  line 
dark  and  ending 
light  and  vice  versa. 
Make  your  line  ex- 
press the  soft  deli- 
cacy of  skin  (see 
Fig.  65),  the  light- 
ness of  chiffon  or 
the  heaviness  of 
velvet.  Make  every 
line  you  put  down 
tell  or  mean  some- 
thing; this  requires 
study  and  applica- 
tion. Compare  Fig. 
82  showing  a  hard 
line  with  Figs.  20, 
22,  70,  71  and  97, 
showing  a  beautiful 
one,  and  be  able  to 
tell  the  difference 
and  why. 

It  is  understood 
that  a  pencil  sketch 
is  made  first  and 
that  the  ink  is  put 
in  afterwards.  Reproductions  in  pen  and 
ink  are  called  line  cuts. 

28.  Individuality. — There  are  great  dif- 
ferences   in    the    make-up    of    different 


Page  Forty-four 


METHODS 


people.     Some   of  us   seem  born   with   a  We  cannot  declare  either  of  these  manners 

strong  mechanical  bias  and  others   with  good  or  bad  to  the  ex.clusion  of  the  other, 

a  delicate  sensitiveness.     In  the  one  case  for  each  of  them,  and  all  the  gradations 

we  will  tend  to  draw  strong  and  precise  between,  have  their  purpose.     The  great 


Courtesy  of  Harper's  Bazar. 
Fig.  70. — Erie  magazine  editorial  drawing — showing  influence  of  Aubrey  Beardsley. 


lines,  in  the  other  to  draw  lines  that  are 
light  and  subtle  though  by  no  means  to 
be  confused  with  the  weak  and  broken 
lines  of  inexperience.  The  distinction  is 
one  that  will  be  noted  not  only  in  our 
modern  art,  but  also  in  old  Japanese  prints. 


thing  is  to  find  out  the  method  that  is 
most  natural  to  you  and  improve  that 
to  the  utmost.  Do  not  be  discouraged 
if  your  forte  is  the  delicate,  sketchy  line 
and  if  you  do  not  succeed  with  the  pre- 
cise mechanical  one.     Find  the  place  that 


INDIVIDUALITY 


Page  Forty-five 


is  waiting  for  you  where  your  particular 
manner  is  needed. 

Too  often  those  in  charge  of  art  de- 
partments do  not  appreciate  any  kind  of 
work  except  that  which  they  happen  to 
use.  Do  not  let  them  discourage  you, 
but  remember  the  words  of  Carlyle, 
"The  block  of  granite  which  is   an  ob- 


Problem. — On  a  one-quarter  size  sheet 
of  bristol  board,  held  vertically,  plan  mar- 
gins according  to  the  Greek  proportions. 
Divide  the  space  within  the  margins  into 
four  equal  parts.  In  the  upper  left-hand 
corner  draw  lightly,  with  a  compass,  a 
well-related  circle;  in  the  upper  right- 
hand   corner   draw   lightly,    free   hand,    a 


Courtesy  cf  Harper's  Bazar. 

Fig.  71. — Magazine  editorial  decorative  fashion  drawings  designed  by  Erte. 


stacle  in  the  pathway  of  the  weak  be- 
comes a  stepping-stone  in  the  pathway  of 
the  strong." 

One  way  to  cultivate  the  proper  ap- 
preciation of  beautiful  lines  is  to  begin 
by  drawing  the  simplest  kind  of  forms. 
This  is  certainly  advantageous  in  the  case 
of  children,  and  a  teacher  of  such  a  class 
would  no  doubt  find  it  useful  to  give  out 
such  a  lesson  as  this: 


well-related  oval;  in  the  lower  left  hand 
corner  another  well-related  oval;  in  the 
lower  right-hand  corner  a  well-related 
ellipse.  Then,  with  a  very  sharp  pencil, 
go  over  these  lightly  blocked  in  figures 
with  as  beautiful  lines  as  possible.  This 
problem  can  then  be  repeated  with  the 
idea  of  filling  in  these  spaces  with  con- 
ventionalized designs  to  be  used  for  belt 
buckles  or  other  ornaments. 


Page  Forty-six 


METHODS 


Courtesy  of  Ellsworth  Co. 
Fig.  72. — Pen  and    ink  catalogue  drawing  which 
was  also  used  for  a  magazine  advertisement. 


^Courtesy  of  Brootlin  Ea:,le. 
Fig.  73. — Illustrating  newspaper  editorial  in  which  pen  and  ink 
fashion  work  is  combined  with  brush  work. 


WASH 


Page  Forty-seven 


The  power  to  make  beautiful  lines  must  first 
be  obtained  with  the  pencil,  before  the  same 
result  can  be  attained  with  ink.  It  is  well  to 
have  the  student  really  know  what  a  good  line 
is  before  beginning  a  problem  of  this  kind. 
For  this  purpose  have  examples  of  different 
kinds  of  good  and  interesting  lines,  such  as 
Japanese  prints,  some  reproductions  of  good 
line  drawings  by  McQuin,  Erte,  Dryden,  Drian, 
etc.  Too  much  must  not  be  taken  for  granted 
about  students  or  beginners  knowing  just  what 
a  good  or  beautiful  line  is,  otherwise  the  mis- 
takes of  trying  to  get  a  hard,  inexpressive, 
mechanical  line  is  often  the  result.  For  that 
reason  it  is  well  to  have  drawings  made  in  a 


Cffurtesy  of  Stem 
Fig.  74. — A  fur  catalogue  page. 


Courtesy  of  Glmbel  Bros. 
Fig.  75. — Realistic  treatment  of  feathers. 

tight,  mechanical  way  to  compare 
with  those  done  with  more  feeling. 
Each  student  should  start  making 
a  collection  of  line  drawings  with 
this  comparison  idea  in  view. 

29.  Wash. — Wash  is  a  very  use- 
ful medium  for  fashion  work,  espe- 
cially where  photographic  effects  are 
desired,  as,  for  instance,  in  cata- 
logues. In  newspapers  it  is  not  so 
often  used  as  in  magazines  and  cata- 
logues, because  the  poorer  paper  on 
which  the  newspapers  are  printed  does 
not  tend  to  successful  reproduction. 

For  magazines,  just  as  there  are 
different  ways  of  using  pen  and  ink, 
so  there  are  three  kinds  of  wash;  the 
editorial,  the  pattern,  and  the  adver- 


Page  Forty-eight 


METHODS 


Using.  These  again  can  be  divided  into 
different  styles  of  work,  as  the  realistic,  the 
sketchy,  and  the  decorative.  Still  again,  there 
is  pure  wash  and  there  is  wash  combined 
with  pen  and  ink  or  crayon. 

In  the  editorial 
type  most  attention 
is  given  to  the  at- 
tractiveness of  the 
picture.  See  Fig.  89, 
done  in  a  decorative 
way,  and  Fig.  90, 
done  in  a  more  re- 
alistic style. 

In  the  pattern 
type  most  attention 
is  given  to  the  seams 
and  the  way  the 
garments  are  made, 
and  less  to  the  ex- 
pression  of  any 
particular  kind  of 
material;  in  other 
words,  the  textural 
and  artistic  sides 
are  subordinated  to 
the  practical  pattern. 
This  is  done  in  a 
realistic  way.  See 
Fig.  91. 

In  wash  for  adver- 
tising, attention  is 
concentrated  on 
presenting  the 
garment  to  the  best 
advantage,  bringing 
out  its  best  features  and  its  textures.  This 
is  done  in  a  freer,  more  artistic  manner, 
but  often  is  done  in  a  decorative  way 
except  in  catalogues.  The  wash  is  com- 
bined with  pen  and  ink,  as  in  Fig.  92. 
Yet  sometimes  it  is  very  much  finished 


and  approaches  catalogue  work  in  effect; 
in  fact,  sometimes  the  same  drawing 
which  has  been  used  in  a  catalogue  is 
also  used  to  advertise  in  the  magazines. 
See  Fig.  81. 

Wash  for  cata- 
logues is  usually  very 
much  finished  and 
often  done  without 
much  addition  of  pen 
and  ink.  See  Fig.  53. 
These  drawings  are 
made  with  the  in- 
tention of  advertising 
the  garments  illus- 
trated, and  for  that 
reason  great  stress 
is  laid  on  the  mate- 
rials and  details. 
Sometimes  wash, 
pencil,  crayon  pencil, 
and  pen  and  ink  are 
all  combined  in  a 
drawing;  for  this, 
careful  reproduction 
is  required.  See 
Fig.  104. 

The  materials 
used  for  wash  are 
usually  Steinbach  or 
Curtis  Board  (Illus- 
tration Board),  but 
for  magazine  wash, 
kid  bristol  and  some- 
times even  smooth 
bristol  ( when  only  a 
light  flat  wash  is  desired)  are  used.  You 
will  find  it  good  to  have  Winsor  and 
Newton's  Lampblack  and  four  brushes. 
Numbers  3  and  4  and  6  and  7  are  suitable. 
You  should  also  have  a  blotter,  some  rags, 
a  sponge  for  washing  off  all  the  color  if  a 


Courtesy  of  Home  Pattern  Co. 
Fig.  76. — Newspaper  pattern  fashions. 


WASH 


Page  Forty-nine 


Fig.  77.- 


Cuurh  SI/  uf  Fri  drrick  Looser  Co. 

-Department  store  advertising. 


mistake  is  made,  and  a  large  white  saucer 
for  mixing  black. 

Most  satisfactory  results  are  obtained 
by  having  your  figure  and  garment  very 
carefully  drawn  first,  then  putting  in 
your  darks  or  shadows  and  after  these 
darks  are  absolutely  dry,  your  large 
washes.  Give  very  careful  study  to  the 
texture  and  the  folds. 

It  is  well,  when  beginning,  to  get  very 
good  drawings  showing  examples  of  the 
materials  you  are  endeavoring  to  express. 
Observe  how  each  material  is  affected  by 
light  and  how  the  light  looks  on  the 
folds.  See,  for  example,  how  in  shiny 
black  silk  the  dark  side  blends  into  the 
shadow,  while  on  the  light  side  there  is 
a  crispness  and  unblended  look;   also  note 


how  the  small  folds  often  end  in  a  little 
hook. 

Practice  putting  darks  in  with  one 
brush  and  blending  then  off  with  another. 
Get  so  you  know  just  how  much  water 
you  want  on  your  brush  to  get  certain 
effects.  Always  mix  enough  of  the  color 
which  you  intend  to  use  as  the  large  wash, 
and  dip  your  brush  into  that  instead  of  into 
the  water  and  back  into  your  paint,  this 
lo  avoid  giving  your  wash  a  streaked  look. 
The  Eberhard  Faber  green  or  red  eraser  is 
a  great  help  to  pick  out  lights.  Often  a 
wash,  when  nearly  finished,  has  a  very 
discouraging  appearance,  and  sometimes 
all  it  really  needs  is  the  intensifying  of  the 
blacks  and  some  touching  up  of  the  edges, 
buttons  and  the  like,  with  Chinese  white. 


Courtesy  of  Dry  Goods  Economist  Co. 
Fig.  78.— a  department  store  cut  service  illustration. 


Page  Fifty 


METHODS 


To  practice  large  washes  com- 
mence by  drawing  a  large  square 
and,  tipping  your  board  towards 
you,  draw  your  brush  very  full 
of  color  across  the  top  of  the 
paper  from  left  to  right;  refill 
the  brush,  taking  up  the  rivulet 
on  the  edge  of  the  first  line  and 
repeat  the  operation  until  you 
have  covered  the  square.  You 
should  have  enough  paint  mixed 
in  your  saucer  to  finish  that 
square.  Very  beautiful  wash  ef- 
fects are  often  obtained  with 
just  flat  washes.  They  are  very 
artistic  and  lovely  because  of 
their  simplicity  and  have  none 
of  the  worked-over  look  of  the 
catalogue  work.     See  Fig.  89.     ' 

There  is  always  transparency 
and  life  to  the  first  wash  which 
is  lost  if  you  go  over 
it  often.  Never  be 
afraid  if  the  wash 
looks  too  dark.  Re- 
member that  it  will 
dry  fighter  and  resist 
the  temptation  to 
work  on  it  when  part- 
ly dried.  You  must 
keep  it  clean  and 
bold.  Occasionally, 
stand  off  from  your 
work  and  see  how  it 
looks. 

Such  things  as 
white  dots  or  stripes 
on  the  dark  ground 
of  a  suit  are  put  in 
with  Chinese  white 
after  the  dark  material 
is  otherwise  finished. 


Courtesy  of  Vogue. 
Fig.  79. — Magazine 
pattern  drawing. 


ouTtesy  of  Dry  Goods  Economist  d 
Fig.  80. — A  department  store  cut  service  illustration 


Gray  effects  to  be  put  on  over 
black  are  obtained  by  mixing 
Chinese  white  with  lampblack; 
this  makes  a  body  color  and 
can  be  put  on  over  dark  in  the 
same  manner  as  pure  white. 

If  a  light  streak  is  desired, 
for  instance  up  one  side  of  the 
skirt,  run  a  clean  brush  with 
very  little  water  in  it  up  that 
side  while  the  wash  is  still  quite 
wet;  this  will  give  the  desired 
effect. 

Sometimes  a  color  is  added 
to  a  wash  drawing  effectively. 
This  is  put  on  like  an  ordinary 
wash,  but  for  reproduction 
necessitates  the  using  of  two 
plates  and  two  printings.  See 
Figs.  98  and  99. 

Fig.  93  shows  the  method  of 
procedure,  or  steps, 
in  doing  the  conven- 
tional wash  drawing 
for  a  catalogue.  For- 
tunately this  photo- 
graphic method  is 
giving  way  to  a  more 
artistic  one. 

30.  Crayon  Pencil. 
— Crayon  pencil  is  a 
fascinating  medium. 
It  is  used  in  pref- 
erence to  pencil  for 
reproduction,  because 
it  has  not  the  shiny 
quality  of  the  usual 
lead  which  prevents 
that  from  photo- 
graphing well,  and 
therefore  from  being 
good  for  reproduction. 


CRAYON  PENCIL 


Page  Fifty-one 


Chalk,  crayon  and  pencil,  however,  are 
handled  in  much  the  same  fashion  and 
have  much  the  same  effect,  and  by  them 
great  beauty  and  much  feeling  may  be 
expressed.  See  frontispiece.  Nevertheless 
chalk  does  not 
lend  itself  so 
readily  to  detail, 
famous  as  it  is 
for  its  more  illus- 
trative or  sketchy 
quality. 

Wolf  crayon 
pencils  are  very 
good.  B  and  3B 
Wolf  crayon 
pencils  and  kid 
bristol  board  are 
the  proper  ma- 
terials. Kneaded 
rubber  and  Eber- 
hard  Faber  green 
or  red  rubber  are 
useful,  also  an 
emery  board  pad 
to  keep  the  pencil 
points  sharp. 

It  is  best  to 
sketch  the  draw- 
ing in  first  with 
the  B  pencil  and 
then  put  the 
darkest  darks  in  with  the  3B  and  the 
more  delicate  finishing  touches  with  the 
sharply  pointed  B.  Sometimes  stumps 
are  used  to  rub  the  shadows  in,  giving  the 
drawing  less  line  texture.  See  Fig.  10. 
Sometimes  wash  is  combined  effectively 
with  the  crayon,  then  again  the  crayon 
drawing  is  carried  out  almost  entirely  in 
line.     See  Figs.  94  and  95. 

Sometimes    crayon    pencil    is    used    on 


Fig.  81. 


rough  paper,  and  the  tooth  or  roughness 
of  the  paper  gives  an  interesting  texture 
to  the  drawing.     See  Fig.  45. 

In  doing  half-tone  drawings,  especially 
wash,  and  particularly  in  decorative  work, 
it  is  well  to  limit 
oneself  to  a  cer- 
tain number  of 
tones  or  values 
and  not  to  have 
a  number  of  in- 
termediary tints 
and  shades.  This 
is  best  done  by 
determining  how 
many  values  are 
desired,  mixing 
them  in  separate 
pans  (as  much  as 
is  to  be  needed  of 
each)  and  then 
limiting  the 
washes  to  these. 
This  gives  a  simple 
distinction  to  the 
finished  drawing; 
which  is  decidedly* 
desirable.  See 
Fig.  89.  This 
simplicity  is  lost 
in  Figs.  81,  44, 
and  53,  which  are 
done  in  such  a  realistic  way  because  of 
the  almost  photographic  reproduction  re- 
quired. Both  simplicity  and  charm  are 
lacking  in  some  magazine  illustrations, 
and  much  catalogue  work  where  a  realistic, 
or  photographic  effect  is  the  chief  aim. 
See  Figs.  103  and  93.  A  pleasing  com- 
promise between  the  strictly  decorative  and 
the  absolutely  photographic  can  be  seen  in 
Fig.  45,  where  line  effect  is  used  for  shad- 


CouTtesy  of  Stern  Bros. 
-Half-tone  catalogue  drawing,  also  used  for  magazine 
advertisement. 


Page  Fifty-two 


METHODS 


Fig.  82. — Pen  and  ink  pattern  catalogue  drawing. 


Courtesy  of  Butterick. 


ing,  the  flat  washes  being  put  on  over  the 
charcoal  drawing.  The  mistake,  however, 
of  mixing  these  two  styles  in  one  drawing 
must  be  avoided. 

In  instructing  a  class  it  is  well  for  the 
teacher  to  give  some  simple  problems  to 
be  done  in  two  or  more  values  of  wash. 
Many  good  examples  of  this  method  are 
to  be  found  in  Composition  by  Arthur  Dow. 


In  considering  methods  the  student  must 
keep  in  mind  what  the  purpose  of  his 
finished  work  is  and  then  use  the  method 
which  is  best  adapted  to  that  end.  But 
while  this  is  true  he  must  not  let  the 
method  he  is  using  interfere  with  the  ex- 
pression of  his  own  style  and  individuality 
of  work. 

In  doing  brush  work  with  ink,  see  Fig. 


BRUSH  WORK 


Page  Fifty-three 


Fig.  83. — Magazine  pen 

86,  it  is  well  first  to  become  acquainted 
with  this  medium  and  method,  on  some 
practice  paper.  The  decorative  effect  of 
good  spotting  is  very  important,  for  the 
finished  composition,  and  the  student  is 
again  referred  to  Composition  by  Arthur 
Dow,  a  careful  perusal  of  which  will  do 


Courtesy  of  Rawak  Hats. 


and  ink  advertising. 

much  for  a  more  comprehensive  under- 
standing of  the  possibilities  there  de- 
scribed and  illustrated.  These  can  in 
many  instances  be  applied  to  fashion 
work.  Fig.  73  and  83  are  examples  of 
fashion  sketches  where  good  spotting  has 
been  obtained  with  brush  work. 


Page  Fifty -four 


METHODS 


THE 

BVEIVINO 

MAIL, 

DECEMBER      19     1911 

» 

1           WANAMAKER'S 

1             WANAMAKER-S 

1           WANAMAKER'S 

1            WANAMAKERS 

1      Bio«dw«jr-Ei«hth  to  Tfnth  St. 

W\)t  Wiammaktv  Cfjrigtmasf  ^ale  of  iHsJeb  l^iam^  anb  ^(aper=3^ianos( 

Fig.  84. — An  original  idea  for  a  musical  heading. 


Cuurtesy  of  John  Wanamater. 


Etching  is  a  method  lately  used  in  fashion 
illustration.  Drian  and  Miss  Steinmetz 
have  both  obtained  some  charming  effects  in 
this  way,  but  it  is  a  difficult  and  expensive 
medium  to  have  reproduced,  and  for  that 
reason  is  not  likely  to  come  into  general  use. 

The  student  is  recommended,  in  fact 
urged,  to  become  familiar  with  the  work 
and  methods  used  by  such  artists  as  Drian, 
Soulie,  Brunelleschi,  Barbier,  Lepape, 
Erte,  McQuin,  Steinmetz,  Helen  Dryden, 


Reta  Senger,  Fern  Forrester,  Claire  Avery, 
and  the  other  artists  mentioned  in  the 
text,  as  good  examples  of  the  best  work  is 
often  the  best  instructor  one  could  have. 

It  is  still  comparatively  seldom  that  the 
costume  designer  or  illustrator  does  much 
with  textile  designing,  the  field  being  con- 
sidered somewhat  apart,  but  as  a  change 
in  these  matters  appears  imminent,  it 
has  seemed  expedient  to  include  the  method 
of  procedure. 


Fig.  85. — Drawing  by  Aubrey  Beardsley. 


Courtesy  of  Abraham  &  Straus. 
Fig.  86. — Showing  how  brush  work  can  be 
combined  with  pen  and  ink. 


TEXTILE  DESIGNING 


Page  Fifty-five 


°        1 


i 


4 


I  Width 

Courtesy  of  Women's  Wear. 
Fig.  87. — This  illustrates  the  repeat  of  a  design  for  silk 
or  cotton  printing.     The  dotted  lines  are  not  part  of 
the  design,  but  are  to  show  that  the  unit  of  design  is 
repeated  in  the  length  every  three  inches. 


TEXTILE  DESIGNING* 

**  The  kind  and  color  of  paper  used  in  sub- 
mitting designs  is  immaterial.  But  we 
would  suggest  that  white  be  used  and  the 
ground  painted  in.  Tempora  paints  are 
generally  used.  At  least  one  full  repeat 
and,  if  the  design  be  small,  two  or  three 
repeats  should  be  shown.  The  design  is 
a  guide  to  the  printer  or  weaver  and  must 
clearly  indicate  how  the  artist  desires  the 
finished  fabric  to  appear. 

"  The  technique  of  woven  designs  is  very 
complicated,  but  it  is  only  necessary  for 
the  artist  to  remember  that  simple  figures 
and  few  colors  are  best,  that  the  size  of 
each  repeat  should  never  exceed  twelve 
inches  and  the  repeat  is  across  the  web, 
not  in  the  length  as  it  is  in  printing. 

"  The  size  of  the  paper,  then,  would  de- 
pend on  the  size  of  your  design.     In  order 


that  you  may  clearly  understand  the  part 
that  dimension  plays  in  the  commercial 
value  of  a  design,  we  will  describe  the 
roller  over  which  silk  fabrics  pass  in  the 
process  of  printing: 

*'  The  roller  is  16  inches  in  circumference 
and  three-quarters  of  an  inch  in  thickness. 
Its  width  is  immaterial  because  the  widths 
of  different  fabrics  vary  so  greatly.  The 
pattern  to  be  printed  is  engraved  in  the 
copper.  The  roller  revolves,  takes  up  the 
color  from  the  color  box  at  the  bottom; 
the   color   is   removed   from   the   smooth 


Fig.  88.— Illustrating  three  kinds  of  Ben 
*  This  is  reprinted  through  the  courtesy  of  Women's  Wear. 


Day. 


Page  Fifty-six 


Courtesy  of  Harper's  Bazar. 

Fig.  89.— Decorative  half-tone  treatment  used  in  magazine  editorial. 

surfaces  by  the  scraper,  or  'doctor'  at  the 
side,  and  remaics  only  in  the  indented 
portions,  which  constitute  the  pattern.  The 
cloth,  passing  just  above  the  doctor,  takes 
up  the  color  that  remains  in  the  indented 
or  engraved  portions,  and  registers  the 
design. 

"  A  new  cylinder,  as  we  have  said  above, 
is  16  inches  in  circumference.  When  a 
manufacturer  wants  no  more  goods  printed 
from  a  certain  pattern,  the  cylinder  is 
polished  off  and  engraved  with  a  new  pat- 
tern. With  each  polishing  a  thickness  of 
copper  is  removed,  and  the  circumference 
of  the  cylinder  of  course  grows  less.  When 
a  cylinder  has  been  used  for  a  number  of 
patterns,  the  circumference  has  gradually 
been  reduced  from  16  to  15  inches,  and  when 
it  becomes  less  than  15  inches  it  is  junked.     ^  FiT  9a 


METHOD 

"You  will  see,  therefore, 
that  a  pattern  (in  order  to 
be  mathematically  correct) 
must  either  take  up  the 
entire  15  or  16  inches  of  the 
roller,  or  must  repeat  an 
even  number  of  times  with- 
in 15  or  16  inches.  In 
other  words,  the  pattern  must 
be  15  or  16  inches  in  length, 
or  must  be  repeated  at  in- 
tervals evenly  divisible  into 
15  or  16.  A  three-inch 
repeat  would  register  five 
times  on  the  15-inch  roller; 
a  four-inch  repeat  four  times 
on  a  16-inch  roller;  a  5 1 -inch 
repeat,  three  times  on  on  a 
16-inch  roller;  there  is  prac- 
tically no  limit  to  the  pos- 
sible variations.  A  12-inch 
repeat,  on  the  other  hand, 
would  be  impossible;  it  would 
have   to    be    diminished    to 


E.  M.  G.  SteinmeU.  Courtesy  of  Vogue. 

-Characteristic  Editorial  wash  drawing. 


TEXTILE  DESIGNING 

one-third  or  one-fourth  its  size  to 
become  practicable  for  printing.  Most 
commercial  designers  work  on  a  7|-inch 
square  for  silk. 

"  The  above  refers  to  the  printing  of 
silks.  For  printing  cottons,  the  same  / 
process  is  used.  A  cotton  printing 
roller,  however,  is  18  inches  in  cir- 
cumference when  new,  and  for  suc- 
ceeding patterns  is  polished  until  the  cir- 
cumference becomes  16  inches.  When 
designing  for  cottons,  therefore,  the 
repeat  must  be  figured  on  the  basis 
of  a  16-  to  18-inch  cylinder,  corre- 
sponding to  the  15-  to  16-inch  scale 
for  silk  printing.  For  example,  a  three- 
inch  repeat  could  be  used  for  silk  or 
cotton  being  divisible  into  either  15  or 
18.  On  the  other  hand,  a  six-inch 
repeat  could  be  used  only  for  cotton; 
it  is  evenly  divisible  into   18  but  is 


Page  Fifty-seven 


Courtesy  of  Cheney  Brus. 

Fig.  92. — Characteristic  half-tone  magazine  advertising. 


Courtesy  of  CrU^on  Magazine. 
91. — Magazine  half-tone  pattern  drawing. 

not  evenly  divisible  into  15  or  16. 
An  8|-inch  square  is  the  commer- 
cial standard  for  use  in  cotton  design- 
ing for  dress  goods. 

"  A  pattern  is  expensive  in  propor- 
tion to  the  elaborateness  of  the 
engraving  and  the  number  of  colors 
used.  It  is  commercially  important, 
therefore,  that  the  arrangement  of 
colors  be  effective  and  the  actual 
number  of  them  be  kept  down. 
It  is  better  to  limit  the  number 
of  colors,  if  possible,  to  five  or  less 
although  more  colors  can  be  used. 
This  refers  both  to  silk  and  cotton. 

"  With  no  wish  to  restrict  the  art- 
ist, we  suggest  that  museums  and 
libraries  be  often  consulted  for  ideas 
and  we  feel  that  the  artist  may 
with  profit  give  some  thought  to 
the  condition  of  mind  of  the  women 
of    America.     For    this    is    always 


Page  Fifty -eight 


METHOD 


Fig.  93. — Illustrating  steps  in  a  conventional  wash  catalogue  drawing. 


Courtesy  of  Henry  Soncit: 


of  great  importance  in  determining  the 
sale  of  decorated  fabrics.  Endeavor  to 
make  designs  that  are  beautiful  and 
original  at  the  same  time  they  are 
appropriate  to  certain  definite  fabrics. 
Remember  that  a  design  may  be  intri- 
cate and  not  beautiful,  may  even  be 
beautiful  and  not  appropriate.  Do  not 
be  afraid  to  be  simple  and  do  not  merely 


copy. 


Keep  in  mind  that  a  textile  design  is  not 


a  picture,  seen  on  a  flat  surface,  but  the 
decoration  of  a  garment  which  will  fall 
in  folds.  Visualize  your  design  in  the 
fabric,  made  up  as  some  part  of  a  woman's 
costume.  That  is  the  test  of  a  good  design." 
The  chapters  on  Color,  Design  and 
Period  Fabric  Design  should  be  care- 
fully consulted  in  connection  with  the 
mechanical  method  given  above  in  re- 
gards to  Textile  Designing.  For  general 
Theory  of  Design  such  books  as  Design 


*  In  designing,  scale  of  color  and  texture  must  not  be  overlooked.      Certain  colors  that  are  too  brilliant  or  crude  for 
indoors  are  appropriate  for  sport  wear  out  of  doors;  where  the  scale  of  everything  is  greater. 


TEXTILE  DESIGNING 


Page  Fifty-nine 


Fig.  94.  Crayon  pencil  sketches. 


Courtesy  ot  Ladies  Home  Journal. 
Fig.  95. 


in  Theory  and  Practice  and  Principles  of 
Design  by  Ernest  Batchelder,  Handbook 
of  Ornament  by  F.  S.  Meyer,  Decorative 
Design  by  Joseph  Cummings  Chase, 
Theory  of  Pure  Design  by  Denman  Ross, 
200  Units  of  Design  (plates),  Henry 
Warren  Poor,  and  Plant  Form  and  Design 
by  A.  E.  V.  Lilley  and  W.  M.  Midgley 
will  all  be  found  helpful  to    the  student. 


The  peasant  design  must  not  be  over- 
looked and  such  books  as  "A  Magyar 
Nep  Miiveszete,"  Molonyay,  in  four  vol- 
umes, Peasant  Art  in  Austria  Hungary, 
Peasant  Art  in  Sweden,  Lapland  and 
Iceland,  and  Peasant  Art  in  Russia, 
edited  by  Charles  Holme,  will  be  found 
an  inspiration  to  designers  and  stu- 
dents. 


Accessories  drawn  by  Claire  Avery. 


Courtesy  oj  Vogue. 


From  an  etchmg  by  E.  M.  A.  Steinmetz. 


Courtesy  of  Harver's 


COLOR 

CHAPTER    FOUR 


h 


CHAPTER  FOUR 


COLOR 


31.  General  Theory. — The  most  con- 
venient and  general  theory  *  about  color 
is  that  based  on  the  three  primaries,  red, 
yellow,  and  blue.  As  these  colors  can- 
not be  reproduced  by  the  mixture  or 
combination  of  any  other  colors,  they  are 
said  to  be  pure  or  simple  colors,  i.e., 
primaries. 

The  secondary  or  binary  colors  are 
orange,  green,  and  purple.  These  are 
made  by  mixing  two  of  the  primary  colors 
together.  This  mixture  forms  the  com- 
plement of  the  remaining  primary.  Binary 
colors  are  halfway  between  the  primaries 
on  the  color  chart. 

Red  and  blue  make  purple,  the  com- 
plement of  yellow,  and  directly  opposite 
yellow  on  the  color  circle. 

Blue  and  yellow  make  green,  the  com- 
plement of  red,  and  directly  opposite  red 
on  the  color  circle. 

Yellow  and  red  make  orange,  the  com- 
plement of  blue,  and  directly  opposite 
blue  on  the  color  circle. 

Complementary  colors,  being  directly 
opposite  in  the  spectrum  circuit,  are 
wholly  unrelated  in  their  normal  intensity. 
They  show  strong  contrast  and  enrich 
each  other.     See  Fig.  96. 

A  color  mixed  with  its  complement 
makes  gray. 

*  Another  Theory:  There  is  another  color  theory  which 
declares  the  elements  of  color  to  be  red,  green,  and  violet- 
blue.  This  is  based  on  spectrum  analysis  instead  of 
pigments  and  is  preferred  by  some  authorities.  It  changes 
the  color  wheel  somewhat,  regarding  colors  and  their 
complements,  making  red  the  complement  of  blue-green, 
green  the  complement  of  red-purple,  and  violet-blue  the 
complement  of  yellow. 

For  further  explanation  see  A  Color  Notation  by  A.  H. 
Munsell. 


The  coldest  color  is  blue  and  the  warmest 
is  its  complement,  orange,  which  is  the 
farthest  away  from  blue  in  the  color 
wheel. 

Tertiary  Colors  are  those  formed  by 
the  mixture  of  the  secondary  colors. 
Thus,  green  mixed  with  purple  makes 
olive;  orange  mixed  with  green  makes 
the  tertiary  citrine;  and  orange  mixed 
with  purple  gives  russet. 

The  more  a  color  is  grayed  the  more 
neutral  it  becomes. 

By  normal  color  is  meant  the  foundation 
color  of  a  scale  of  tone,  the  tones  getting 
darker  or  lighter  from  this  foundation. 

By  tone  is  meant  the  modification  of 
any  normal  color  by  the  addition  of 
black  or  white. 

By  tint  is  meant  the  light  tone  of 
any  color  (formed  by  the  adding  of  white 
or  water  to  a  standard  color), 

By  shade  is  meant  the  dark  tone  ^f 
any  color  (formed  by  the  adding  oi 
dark  or  black  to  a  standard  color). 

By  scale  of  color  is  meant  the  grada- 
tion of  a  series  of  tones  of  the  same  color 
from  the  lightest  tint  through  the  normal 
or  pure  color  to  the  darkest  shade. 

By  hue  is  meant  the  departure  from 
the  original  scale  of  a  certain  color,  to 
a  greater  or  less  degree,  by  the  addition 
of  a  comparatively  small  proportion  of 
another  color.  For  hue  think  around  the 
color  sphere;  the  even  steps  between  the 
binary  and  adjacent  primary  in  the  color 
sphere  is  called  the  hue.  Thus  the  step 
between  blue  and  green  is  blue-green, 
between  green  and  yellow,  yellow-green, 
both   hues  of  green.     In   the  same   way 


Page  Sixty-four 


COLOR 


there  are  two  hues  of  violet,  two  of  orange, 
and  two  of  red.  To  change  a  color  to 
a  hue  add  the  next-door  neighbor  (any 
color  between  two  primaries),  that  is, 
change  its  place  on  the  spectrum. 
By  intensity  or  chroma  is  meant  the 


think  up  and  down  the  color  sphere; 
yellow  is  lightest,  violet  darkest,  in  value. 
32.  Harmonies  of  Likeness. — Har- 
monies of  likeness  may  be  classified  as: 
1.  Monochromatic,  i.e.,  a  group  of  dif- 
ferent tones,  values  or  intensifies  of  one 


Drawing  by  Reta  Senger. 


Fig.  97.- 


Courtesy  o/Good  Houaekeeptng. 
-Editorial  magazine  fashion  work  in  which  color  Ben  Day  is  used. 


strength  or  brilliancy  of  a  color.  For 
intensity  think  inward  or  across  the 
sphere.  To  change  intensity,  add  the 
complementary  color;  in  other  words, 
gray  it. 

By  value  is  meant  the  amount  of  dark 
or  light  expressed  by  a  color.     For  value, 


color.     This    is    sometimes    called    a   one 
mode  harmony. 

2.  Analogous,  i.e.,  made  by  colors  that 
are  next  to  each  other  in  the  color  circle, 
and  are  harmonious  because  they  have, 
in  different  quantities,  a  common  element. 

3.  Dominant  Harmony,  i.e.,  several  colors 


HARMONIES  OF  DIFFERENCE 


Page  Sixty-five 


all   influenced   or   subdued   by   the   same 
color. 

33.  Harmonies  of  Difference. — The  har- 
monies of  difference  are:  4.  (a)  Comple- 
mentary, i.e.,  two  complementary  colors 
used  together  with  some  unifying  ele- 
ment, by  the  mixing  of  the  one  with  the 
other  or  by  mixing  a  little  gray  with 
both. 

(&)  Split  complementary  harmony,  i.e., 
the  combination  of  a  primary  with  the 
two  colors  on  each  side  of  its  secondary 
complement;  as  yellow  combined  with 
redrviolet,  and  blue-violet,  or  blue  com- 
bined with  yellow-orange  and  red-orange, 
or  red  combined  with  yellow-green  and 
blue-green.  Always  begin  on  the  pri- 
mary and  split  on  the  complement;  never 
split  a  primary  color. 

(c)  Double  complementary  harmony,  i.e., 
that  made  by  the  combination  of  two  colors 
side  by  side  on  the  color  wheel  with  their 
direct  opposites,  as,  for  instance,  violet 
and  blue-violet  with  yellow  and  yellow- 
orange. 

5.  Triad  Harmony,  i.e.,  any  harmony  of 
three  colors  that  make  an  equilateral  tri- 
angle in  the  spectrum  circle.  Example: 
yellow-orange,  blue-green  and  red-violet. 
In  producing  triad  harmony,  use  hues 
and  neutralize  to  make  them  harmonious. 
Only  one  of  the  three  should  be  wholly 
intense. 

34.  Laws  for  the  Use  of  Color.— Law 
governing  intensity.  The  larger  the  area 
the  less  intense  the  color  must  be  and 
the  smaller  the  area  the  more  intense  the 
color  may  be. 

Law  of  background. — Backgrounds  must 
be  more  neutral  than  objects  shown  upon 
them. 

Neutralization. — Three  parts  yellow  and 

*  It  is  not  well  to  combine  colors  in  their  full 


one  part  violet  makes  a  neutralized  yellow 
or  gray-yellow. 

Three  parts  violet  and  one  part  yellow 
makes  a  neutralized  violet  or  gray- violet 
halfway  between  violet  and  gray.  This 
is  true  of  the  other  colors.* 

35.  The  Color  Chart. — To  make  a  color 
circle  which  is  composed  of  the  full  in- 
tense primary  colors,  yellow,  red,  and 
blue,  and  full  intense  binary  or  sec- 
ondary colors,  orange,  green,  and  violet, 
and  the  full,  intense  intermediate  hues, 
yellow-orange,  yellow-green,  blue-green, 
blue-violet,  red-violet  and  red-orange, 
with  the  inner  circle  showing  these  colors 
half  neutralized  and  the  center  neutral 
gray,  a  paper  should  be  used  which  holds 
water  color  (a  "Keystone"  Student's 
Drawing  Block  nine  by  twelve  is  good), 
on  which  to  make  the  washes.  These 
may  be  put  on  in  small  areas  from  two 
to  four  inches  square.  Satisfactory  colors 
to  use  for  this  chart  are  Winsor  &  Newton's 
Gamboge  for  yellow,  Winsor  &  Newton's 
Alizarine  Crimson  mixed  with  Milton 
Bradley's  Standard  Red  for  red,  Winsor 
&  Newton's  New  Blue  for  blue,  Winsor 
&  Newton's  Cadmium  Orange  and  Stand- 
ard Red  for  orange.  New  Blue  and  Milton 
Bradley's  Standard  Green  for  green,  and 
Milton  Bradley's  Standard  Violet  for 
violet. 

(Don't  mix  standard  red,  standard 
green,  or  standard  violet  with  other  colors 
for  use,  except  on  the  chart.  They  stain 
and  settle.  They  can  be  used  satisfactorily 
only  in  small  areas.  The  ten-cent  tube 
is  the  size  to  obtain  for  the  color  chart 
— the  Winsor  &  Newton  colors  ditter  in 
price  and  are  more  expensive.  These  are 
the  colors  that  seem  the  best  to  obtain 
the  desired  result.) 

intensity  unless  relieved  by  black  or  white. 


Page  Sixty-six 


COLOR 


To  obtain  the  hues  such  as  yellow  orange, 
it  is  understood  that  a  little  yellow  is 
added  to  the  orange,  for  yellow-green  a 
little  yellow  to  the  green,  while  for  blue- 
green  a  little  blue  is  added  to  the  green, 
etc.  The  colors  of  the  inner  circle,  which 
are  known  as  colors  at  their  half  intensity, 
as,  for  instance,  gray-orange  or  gray-yellow, 
are  obtained  by  mixing  the  color  with  its 
complement.  For  example,  about  three 
parts  yellow  plus  one  part  violet  makes 
a  neutralized  yellow  or  gray-yellow.  On 
the  other  hand,  three  parts  violet  plus  one 
part  yellow  equals  gray-violet,  and  this  is 
true  of  all  the  other  colors.  The  three 
primaries  mixed  give  the  center,  neutral 
gray.  (Alizarine  crimson,  gamboge  and 
new  blue.) 

Taking  a  neutral  scale  showing  nine 
degrees  of  value  from  white  to  black,  the 
equivalent  color  values  should  be  found 
for  the  color  chart;   as  for  example,  the 


Yellow 

Yellow-Orange  1 
Yellow- Green    J 
Orange  | 
Green    j 
Red-Orange 
Blue-Green 
Red  1 
Blue  J 
Red-Violet 
Blue- Violet 
Violet 


W.  White 

H.  L.  High  Light 

Light 

L.  L.  Low  Light 

M.  Middle 

H.  D.  High  Dark 

D.  Dark 

Low  Dark 
B.  Black 


This  value  scale  should  be  used  in 
selecting  colors  in  order  to  keep  them 
keyed  correctly  together  according  to 
value. 


Practice  on  the  paper  in  these  small 
squares  about  three  inches  in  size  until 
satisfactory  results. are  obtained;  do  not 
get  your  paint  on  too  thick  or  too  thin. 
Be  sure  your  brush  is  perfectly  clean  and 
get  one  color  at  a  time,  always  making 
four  or  five  squares  that  you  may  be  sure 
to  obtain  a  satisfactory  value  for  your 
choice  of  color.  After  you  have  finished 
cut  your  squares  out  and  compare  them 
with  your  value  scale;  half  closing  your 
eyes  often  helps  this  comparison.  When 
a  satisfactory  selection  has  been  made, 
use  either  a  quarter,  a  nickel,  or  a  dime, 
according  to  the  size  of  the  chart  you 
wish  to  make  and  put  these  over  the 
smoothest  part  of  the  washes,  draw  with 
a  sharp  pencil  a  circle,  with  the  coin  as 
a  guide,  and  then  cut  out  the  colored 
discs.  A  compass  should  be  used  to 
make  a  guiding  line  for  the  placement  of 
these  small  discs,  which  should  be  done 
very  carefully.  A  good  library  paste 
should  be  used  to  mount  the  discs. 

36.  Significance  of  Color. — In  Prin- 
ciples of  Advertising  Arrangement  the  author 
says:  "Color  is  one  of  the  most  interest- 
ing and  important  elements  in  nature, 
because  the  eye,  the  organ  of  one  of 
the  five  senses  of  man,  sees  nothing 
but  color.  Form,  as  we  call  it,  is  seen 
only  because  one  color  is  placed  against 
another  and  by  its  position  and  contrast 
makes  a  shape.  And  every  tone  of  color 
has  a  separate  meaning — yellow  speaks  a 
definite  thing  to  those  who  understand  it. 
Blue  cannot  say  what  yellow  says — 
neither  can  red  or  violet." 

In  a  folder  gotten  up  by  the  Art  in 
Trades  Club  of  New  York  City,  valuable 
information  was  given  in  a  strikingly  simple 
and  concise  way  under  the  heading,  The 


SOURCES  OF  COLOR  SCHEMES 


Page  Sixty-seven 


Principles  of  Color  Harmony,  which  reads 
as  follows: 

"  Psychological  Significance. — Color,  as 
it  varies  in  hue,  value  and  intensity,  by 
its  intrinsic  qualities  and  the  association 
of  ideas,  excites  certain  definite  thoughts 
and  feelings  in  the  human  mind. 

Hues. — Blue — cold,  formal  and  distant. 

Green — cool  and  restful. 

Yellow — cheerful,  brilliant  and  unify- 
ing. 

Red — warm,  rich  and  aggressive. 

Orange — hot,  striking,  but  decorative. 

Violet — mournful,  mystic,  and  darken- 
ing. 

Value. — Light  color  tones  express  youth, 
femininity,  gayety  and  informality. 

Dark  color  tones  express  strength,  dig- 
nity, repose,  and  seriousness. 

Intensity. — Colors  in  their  full  intensity 
are  strong,  loud,  vital,  and  elemental  in 
feeling. 

Colors  that  have  been  neutralized  ex- 
press subtlety,  refinement  and  charm. 

Balance  in  Color  Harmony. — Colors  to 
balance  in  harmony  must  be  similar  in 
intensity  and  area.  If  dissimilar,  the  in- 
tensity must  vary  in  inverse  proportions 
to  the  area. 

Backgrounds  should  be  less  intense  than 
objects  to  be  shown  on  them."  (It  is  not 
well  to  figure  a  whole  warm  object  on  a 
cold  background.) 

37.  Sources  of  Color  Schemes. — Many 
are  the  designer's  sources  for  color  schemes. 
With  the  knowledge  of  what  harmony 
consists  in,  he  may  go  to  nature  and  find 
an  endless  variety  in  the  animal,  mineral, 
bird,  reptile  and  flower  kingdoms,  and 
in  atmospheric  effects.  Or  he  may  go 
to  museums  and  study  china  and  glass 
and  textiles,  such  as  tapestries,  rugs  and 


old  embroidery  and  laces.  Again,  he  may 
go  to  picture  galleries  and  get  inspira- 
tions from  old  and  new  Japanese  prints 
and  from  old  and  new  masters  in  art. 
See  illustration  of  the  gown  adaptation 
from  Whistler's  Nocturne,  Fig.  102. 

In  deciding  what  colors  are  becoming; 
it  must  be  remembered  that  a  color  not 
only  reflects  its  own  tint  on  the  face  of 
the  wearer,  but  also  its  complement  (this 
is  called  simultaneous  contrast) .  Therefore, 
the  eyes,  hair,  and  skin  of  the  wearer  must 
be  considered  and  such  a  color  for  the 
dress  chosen  as  will  neither  give  the  per- 
son a  faded,  ghastly  tinge  nor  too  harsh 
and  florid  an  appearance,  but  which  will 
enhance  his  or  her  particular  beauty.  In 
large  areas  neutralized  colors  are  always 
best — avoid  the  harshness  of  too  much 
intensity. 

A  very  ugly  combination  may  result 
from  putting  together  two  different  hues 
of  the  same  color.  Simultaneous  contrast 
can  take  place  with  a  disastrous  result. 
This  is  often  what  we  mean  when  we 
say  one  blue  kills  another  or  one  red  kills 
another  red.  On  account  of  this  matter 
of  hue,  things  that  are  the  same  color 
but  of  a  different  hue  do  not  always 
harmonize. 

Be  careful  about  using  together  colors 
of  the  same  intensity,  unless  both  or  one 
is  much  neutralized.  It  is  usually  more 
satisfactory  to  use  the  more  brilliant 
color  in  the  smaller  quantity. 

Modern  colors  have  taken  on  many 
titles  which  they  change  from  season  to 
season,  and  which,  while  catering  to  the 
imagination  of  the  public  are  quite  over- 
whelming. This  is  wittily  expressed  in 
the  following  quotation  from  Dr.  Frank 
Crane. 


Page  Sixty-eight 


COLOR 


MODERN  COLOR 

BY 

Dr.  Frank  Crane 

"Yes,"  said  the  saleslady,  "we  have  all  the  new  oflBcial 
Panama  Exposition  colors!" 

"For  instance?" 

"Well,  there's  flagpole  red,  wall  blue,  exposition  gold, 
travertine,  lattice  green,  and " 

"But  haven't  you  anything  in  just  plain  colors — red, 
green,  or  yellow  and  so  on?" 

"Oh,  no!" 

"Aren't  those  reds  over  there?" 

"We  don't  say  red,  you  know,  any  more." 

"What  then?" 


"Well,  this  is  cerise  and  those  are  raspberry,  brick 
dust,  cardinal,  crushed  strawberry,  carnation,  and — let 
me  see — this  is  old  rose,  this  is  ashes  of  roses,  this  is 
watermelon,  this  is  sunset  pink." 

"You  interest  me.     How  about  blues?" 

"Why,  there  is  navy  blue,  and  Copenhagen  blue,  and 
Alice  Blue,  and  old  blue,  and  ultramarine  blue,  and  sky 
blue,  and  robin's  egg  blue,  and " 

"That's  enough.  I'm  afraid  you'll  say  Monday  blue. 
Tell  me  some  yellows." 

"Oh,  lots  of  them!  Straw,  champagne,  dust,  tan,  ca- 
nary, lemon,  orange,  tango,  sand,  and  so  on." 

"Goodness!" 

"Then  we  have  in  greens,  Nile  green,  parrot  green, 
lettuce  green,  Alice  green,  emerald  green,  Irish  green. 
Reseda  and  others." 


ir 


>^ 


Fig.  98. — The  reproduction  from  the  color  plate. 


CouTtesv  of  Criterion  Magazine. 


SOURCES  OF  COLOR  SCHEMES 


Page  Sixty-nine 


"Isn't  there  any  such  thing  as  just  plain,  ordinary 
green?" 

"Oh  no!  It 's  the  shade,  you  know.  Here,  for  example, 
are  elephant's  breath  gray,  and  taupe." 

"Indeed!" 

"Yes;  and  then  all  the  flower  colors  are  represented — 
rose,  violet,  lavender,  wistaria,  nasturtium,  pansy,  daf- 
fodil,   American    Beauty,    cherry    blossom,    and    poppy 


"Charming!     They  appeal  to  the  imagination." 
"Precisely.     Half  of  the  color-pleasure  of  dress  goods 
is  the  pleased  fancy.     We  strive  for  the  unique,  such  as 


wood  shades — walnut  brown,  mahogany,  oak,  and  chest- 
nut; bird  colors,  such  as  coxcomb,  chanticleer,  dove, 
canary,  yellow  and  parrot  green;  jewel  tints,  as  ruby, 
sapphire,  pearl,  amber,  topaz,  coral,  jade,  and  turquoise 
blue." 

"I  am  overwhelmed.'' 

"Oh,  there  are  others — the  most  fantastic.  You  can 
have  a  claret  necktie,  a  flame  ribbon,  laces  of  ivory  or 
Isabella,  a  sash  of  cream,  coffee,  or  chocolate  color;  a 
gown  of  mouse  gray  or  steel  gray,  and  other  articles  of 
your  apparel,  to  assist  you  to  perfect  self-expression. 
Maybe  the  color  of  pomegcteiate,  apple  green,  fawn,  delfl 


Fig.  89.- 


Courtesy  of  CriteTion  Magazine. 
-Reproduction  showing  the  combination  printing  from  the  two  plates. 


Page  Seventy 


COLOR 


blue,  lapis  lazuli,  taffy,  salt  and  pepper,  mustard,  cinna- 
mon, mud,  stone,  cabbage,  putty,  string  color,  or  wine 
color,  besides  Indian  red  or  Pompeian  red,  sea  green  or 
pea  green ! " 

"  Thanks !  I  think  I'll  take  some  ribbons,  some  of  those 
advertised  as  "distinctly  American  in  nomenclature" 5 
give  me  some  Palm  Beach,  Piping  Rock,  Tuxedo  brown, 
Arizona  silver,  Gettysburg  gray,  Oregon  green,  Delaware 
peach,  Newport  tan,  and  Rocky  Mountain  blue,  if  you 
please." 

38.  Applying  Colors. — In  painting,  be- 
gin at  the  top  and  color  downward,  from 
your  left  to  your  right.  The  edge  of  a 
color  may  be  softened  by  a  clean,  damp 
brush;  this  is  necessary  in  doing  velvets. 
"Where  shiny  taffeta  is  desired,  let  the 
paints  dry  in  a  harder  line  to  give  crisp- 
ness  and  do  not  work  over  while  still  wet. 

Cold  colors  serve  as  shadows  to  warmer 
colors  and  should  be  laid  on  first;  gen- 
erally, warm  colors  over  cold  should  be 
the  rule.  After  the  sketch  is  finished 
and  dry,  unfinished-looking  darks  can  be 
picked  up  with  some  darker  darks  and 
the  high  lights  on  the  edges  of  coats, 
pockets,  tucks,  etc.,  can  be  brought  out 
by  thin,  steady,  crisp  Chinese  w^hite 
lines  when  detail  is  desired. 

Prussian  Blue,  Lake,  and  Sepia  mixed 
make  gray.  One  way  of  graying,  or 
neutralizing,  a  color  is  by  adding  a  little 
of  its  complement;  but  Payne's  Gray 
and  black  are  often  of  value  for  this  use 
in  dressmakers'  sketches  and  commercial 
drawings. 

All  brushes  must  be  kept  clean  and  rinsed 
after  use.  Never  leave  them  in  the  water. 
Take  plenty  of  color  in  your  brush  and 
try  first  on  a  piece  of  spare  paper  to  see 
that  you  have  the  right  tone  and  that 
the  brush  is  not  too  wet  or  too  dry. 

WTien  you  intend  covering  a  space  with 
a  flat  tone,  have  enough  color  mixed  to 
go  from  the  top  to  the  bottom  and  from 

*See 


side  to  side  without  doing  any  more 
mixing  or  dipping  your  brush  again  in 
the  water.  Have  the  drawing  board  tilted 
toward  you  and  enough  color  in  your 
brush  to  ensure  its  keeping  the  little 
rivulet  going  without  the  danger  of  dry 
spots.  For  practice  work  it  is  well  to 
make  some  eight-inch  squares  and  to  try 
covering  their  surfaces  with  a  uniform 
tone. 

When  you  are  making  a  dressmaker's 
sketch  in  white,  it  is  sometimes  helpful  to 
put  a  little  color  in  the  background,  up  on 
one  side  and  down  on  the  other,  not  mak- 
ing it  too  intense,  and  taking  care  to 
soften  the  edge. 

When  wishing  to  work  in  opaque  (or 
body  color),  add  a  little  Chinese  White 
to  your  color.  This  is  often  useful  for 
reproduction.  What  are  known  as  Devoe's 
Show  Card  Colors  are  good  for  tempera 
fashion  work.  Theatrical  costume  designs 
are  often  carried  out  in  this  way.* 

Thompson's  White  has  a  stiff  quality 
which  makes  it  of  value  in  doing  dress- 
makers' sketches,  where  raised  buttons, 
beads,  embroidery,  lace,  etc.,  are  desired. 
Put  it  on  rather  dry  and  let  it  stand 
until  all  moisture  seems  gone  before  touch- 
ing up  these  buttons,  beads,  or  lace  with 
color,  gold  or  silver.  Ink  is  often  used 
with  color,  both  for  dressmakers'  sketches 
and  for  reproduction. 

Have  your  sketch  always  carefully  made 
in  pencil,  putting  in  the  details  last. 
Put  in  your  big  washes  first  and  keep  the 
whole  sketch  going,  being  particular  not 
to  concentrate  too  much  on  any  one 
part.  Avoid  "  niggling  ";  keep  your  wash 
clean  and  bold. 

Oramge  Vermilion  makes  good  flesh 
tones — vermilion,  good  lips  and  color  in 

Page  Nine. 


COLORS 


Page  Seventy-one 


cheeks.  There  are  two  ways  of  putting 
this  color  on;  one  by  putting  the  orange 
vermilion  in  a  very  light  tone  over  all 
the  flesh  and  then,  when  dry,  adding  the 
desired  color  to  the  cheeks  (preferably 
having  it  high  on  the  cheek  bone)  and 
quickly  soft^ening  the  edge;  the  other 
way  by  stippling  or  putting  on  the  added 
color  with  the  tiny  point  of  the  brush 
while  the  all-over  flesh  tone  is  still 
wet. 

Always  remember  that  colors  dry  much 
lighter.  Blue  and  bluish  gray  make  good 
shadows  for  white.  In  doing  a  dress- 
maker's sketch  in  dark  blue  or  black, 
always  keep  the  color  transparent  and 
lighter  than  the  real  material,  though 
having  the  same  effect,  so  that  the  detail 
will  be  shown. 

The  following  supplies  will  be  found 
useful  in  doing  this  kind  of  water-color 
work : 

Colors. — Winsor  &  Newton  colors  are 
preferred.  Less  expensive  but  good  stu- 
dent's colors  are  Devoe  and  Favor  Ruhl. 
It  is  best  to  buy  the  box  separately  and 
fill  it  with  the  colors  desired.  Tubes  dry 
up,  therefore,  unless  colors  are  to  be  used 
constantly  or  in  quantitj^  it  is  more  eco- 
nomical to  buy  half  pans,  with  the  excep- 


tion of  black  and  white;  these  should 
be  bought  in  the  tubes. 

One  should  have  Prussian  Blue  and 
either  New  Blue,  Cobalt,  or  Ultramarine, 
Payne's  Gray,  Emerald  Green,  Hooker's 
Green  1,  Hooker's  Green  2,  Lemon  Yellow, 
Yellow  Ochre,  Naples  Yellow,  Raw  Sienna, 
Burnt  Sienna,  either  Rose  Madder,  Car- 
mine or  Crimson  Lake,  Vermilion,  Orange 
Vermilion,  Mauve,  Sepia,  Van-Dyck 
Brown,  Gold,  and  Silver.  In  tubes,  Lamp- 
black and  \Miite,  and  Thompson's  White 
if  raised  work  is  desired.  This  list  is 
found  convenient  in  saving  the  time  of 
mixing  in  doing  dressmakers'  colored 
sketches. 

The  best  colors  to  get  in  the  Devoe 
Show  Card  list  are  White,  Light  Yellow, 
Orange,  Light  Red,  Magenta,  Mauve, 
Dark  Blue,  Light  Blue,  and  Green.  Some 
artists  use  letterine  when  a  shiny  finish 
is  wanted. 

Brushes.  Rubens,  and  Winsor  &  New- 
ton red  sable  brushes  are  recommended. 
Good  sizes  for  fashion  work  are  Nos.  3 
and  4,  and  6  and  7.  Devoe  or  some  less 
expensive  brushes  should  be  used  for  ink, 
Chinese  white,  gold,  and  silver,  which 
are  injurio\is  to  brushes.  Bristle  brushes 
are  good  for  a  steady,  broad  line. 


®y^ 


Drawn  by  Robert  Henry  for  Felix  Jungmann  &  Cie.,  Paris. 


-<^x«) 


C.BflR8;E.R      x^lJ 


CouTtesv  of  Vogue,  New  York  Rcpresmtalltes 
the  Gaiette  du  Bon  Ton. 


LES    COLCHIQUES 

Manteau    de  voyage  de  Paquin 


From  a  color  illustration  by  George  Barbier. 


DESIGN 

CHAPTER     FIVE 


CHAPTER  FIVE 


DESIGN 


39.  Fundamentals  of  Good  Design. — 

Order  is  the  law  of  all  design,  No  matter 
how  far  we  allow  our  fancy  to  go,  we  should 
never  lose  sight  of  the 
principles  of  design;  6a/- 
-imce,  rhythm,  and  harmony. 
Furthermore,  we  should 
always  aim  at  simplicity 
and  appropriateness. 

Like  the  architect,  we 
should  study  ancient  and 
mediaeval  examples  as  well 
as  later  ones.  Like  his, 
cur  problem  is  two-fold: 
First,  to  find  out  the  best 
and  most  beautiful  that 
can  be  conceived,  and 
second,  to  adapt  it  to  our 
own  present-day  needs. 

Great  heed  must  be 
given,  fundamentally,  to 
personal  characteristics. 
The  materials  used  for 
comfort  or  ornament  can 
then  be  so  chosen  and  so 
treated  as  to  neutralize 
individual  defects  or  de- 
ficiencies and  to  enhance 
every  good  point.* 

40.  Facts  Always  to  be 
Kept  in  Mind. — Common 
sense  and  observation 
show  that  stout  people 
should    avoid   large   head 

^    decorations,  and  hats  which 
make  a  person    appear 
shorter   than  their    real   height,   as   they 
enlarge  the  head  proportion.     They 
should  also  avoid  sleeves  that    are    very 


Courtesy  of  Mile  JacQueline. 
Fig.  100. — Hat  inspired  by  a  bowl 
of  crocuses. 


full    at    the    shoulder    and    skirts     that 

are  very  narrow  at  the  bottom,  as  these 

accentuate  the  size  of  the  hips  and  trunk. 

Horizontal    lines    make 

the    figure    look    shorter 

and  stouter;    the  shorter 

the   vertical    lines    are 

made,   the  shorter  the 

person  will  seem.     Bands 

of  contrasting  tone  or 

color  accentuate  the  line 

effect.  Stout  people  should 

avoid   large  figured  goods 

and   materials  too  bright 

or  too  light  in  color. 

Thin  people  with  very 
narrow,  sloping  shoulders 
should  avoid  the  exagger- 
ated kimona  and  shoulder 
seams  drooping  over  the 
arm,  and  should  keep  to 
the  horizontal  shoulder 
lines,  if  they  do  not  wish 
to  emphasize  this  personal 
characteristic. 

Tall,  thin  people  should 
avoid  long    vertical   lines 
such  as  very   definite   or 
large  stripes,  for  these  lines 
accentuate    height.      This 
is  not  true  of  inconspicu- 
ous stripes.     They  should 
avoid  a  coat  line   which 
cuts   them  into  awkward 
lengths      Remember  the 
Greek  law:    When  two 
lines  are  in  good  relation  to  each  other, 
the  shorter  comes  between  one-half  and 
two-thirds  of  the  longer  line. 


*  "  Woman  as  Decoration  "  by  Emily  Burbank,  will  be  found  profitable  reading  in  this  connection. 


Page  Seventy-six 


DESIGN 


Tall,  thin  people  should 
avoid  narrow-chested  effects 
and  clothes  that  fit  too 
tightly. 

Everybody  should  beware 
of  too  conspicuous  plaids  and 
stripes  or  figured  materials. 
As  a  rule  do  not  combine 
large  figured  materials  with 
small  figured  materials.* 

Small  people,  when  se- 
lecting figured  goods  for  themselves, 
should  always  get  small  figured  materials, 
emphasizing  their  daintiness.  Note  this 
even  in  plain  stuffs,  as,  for  instance, 
how  a  narrow-ribbed  corduroy  suits  a 
small  person  better  than  a  wide-ribbed  one. 

Figured,  striped,  or  plaid  materials, 
which  approach  plain  material,  will  stand 
more  trimming  than  those  in  which  the 
designs  are  emphatically  decorative. 

Equal  or  nearly  equal  amounts  of  dark 
and  light  are  unsatisfactory  unless  they 
approach  an  "all-over"  tone. 

When   other   things   are  equal,   square 


Fig.  101. — Gowns  that  are  in  style  to- 
day were  in  vogue  five  thousand  years 
ago  as  a  study  of  the  figures  at  the 
Metropolitan  Museum,  New  York, 
will  show. 


Courtesy  of  New  York  Evenini  World. 

shoulders  give  one  an  ap- 
pearance of  being  taller  than 
sloping   shoulders,   and  the 
higher  the    waist    line   the 
greater  the  apparent  height . 
A  narrow  belt  makes  the 
waist   appear   smaller   and 
longer,  whereas  a  wide  girdle 
gives   the   appearance  of  a 
broader,   shorter   waist    (if 
above  the  waist  line). 
Over-decoration  is  always  bad. 
Broken    line    effects    are    always    bad. 
(As,  for  example,  waists  and  skirts  with 
seemingly  no  connection.) 

A  continuation  of  waist  line  into  the 
skirt  is  good. 

Light  colors  near  the  face  are  good. 
When  one  striking  note  of  color  is  used 
(as  in  a  belt),  it  should  have  a  repetition 
elsewhere   (as  in  a  touch  on  the  sleeve 
and  waist). 

41.  Sources  of  Designs.  Bearing  the 
foregoing  facts  in  mind,  we  may  draw  our 
inspiration  from  museums,  libraries,  things 


*  Never  mix  scale  in  design. 


SOURCES  OF  DESIGNS 


Page  Seventy-seven 


in  nature,  or  from  any  source  that  appeals 
to  us,  and  start  our  design.     See  Fig.  101. 

Fig.  100  shows  us  how 
Mile.  Jacqueline  found 
her  inspiration  for  a  hat 
in  a  bowl  of  tulips.  As 
for  the  first  prize  evening 
dress  of  the  Times  Prize 
Contest  for  Original  Amer- 
ican Designs,  made  by 
the  writer  and  shown  by 
Fig.  102,  the  Times  has 
given  the  following  de- 
scription of  its  source. 

Whistler  s  well-known  Nocturne 
furnished  the  inspiration  for  this 
evening  gown,  which  owes  its 
distinction  to  subtlety  of  color 
and  grace  of  line.  It  is,  unfortu- 
nately, impossible  in  a  sketch  to 
do  justice  to  the  extraordinary 
feeling  for  color  which  the  de- 
signer has  shown  in  her  selection 
and  handling  of  materials,  be- 
cause she  has  obtained  her  effect 
by  using  semitransparent  color 
over  contrasting  color. 

She  has  secured  a  faithful  echo 
of  the  Nocturne's  blue-green, 
gray-brown  harmonies  by  laying 
pastel-blue  chiffon,  faintly  green 
tinged,  over  putty  color.  The 
girdle  is  in  a  deeper  green-blue 
and  its  Oriental  embroidery  is 
worked  out  in  blues  and  gold  and 
the  vivid  flame  color  of  which 
there  is  one  single  glint  in  the 
Whistler  picture. 

Another  note  of  blue  is  sounded 
in  the  necklace  of  wooden  beads, 
the  smaller  beads  catching  up  the 
wing  shoulder  draperies. 


The  waist  made  for  the 
Ladies^    Home    Journal, 
shown    in    Fig.  103,  was 
suggested  by  the  Lily  of  the  Valley.     Fig. 
99,    Pattern   No.    8082,    in   the  Criterion, 


Cuuru^y  uj  iSew  York  Times. 
Fig.  102. — Design  for  an  evening  dress  in- 
spired by  "A  Nocturne"  in  Tate  Gallery 
by  Whistler. 


was  adapted  from  an  Arizona  pine,  and 
Fig.  99,  Pattern  No.  8079,  from  a  Hopi 
Indian  woman's  dress. 

If  the  designer's  imag- 
ination needs  stimulating 
to  get  away  from  the 
commonplace,  see  what 
music  or  poetry  will  do 
to  help.  Notice  how, 
when  either  are  sad,  one 
thinks  in  subdued  grays 
and  violets  and  dull  blues; 
when  they  are  joyous, 
pinks,  yellows  and  less 
somber  colors  come  into 
one's  mind.* 

The  designer  has  such 
an  immense  store-house 
from  which  to  draw  that, 
when  his  eyes  are  once 
opened  to  the  endless 
treasures  that  are  wait- 
ing to  inspire  him,  his 
world  is  as  full  of  wonders 
as  the  vaulted  chambers 
of  the  Forty  Thieves,  or 
the  untold  treasures  in 
the  cavern  of  Aladdin. 

Appreciation  is  needful 
and  it  is  necessary  to 
gain  this  love  and  under- 
standing of  the  beautiful 
which  really  comprises 
what  we  call  taste.  We 
should  know  something 
of  the  art  of  the  past 
as  well  as  the  costumes 
of  these  periods,  so  rich 
in  material  is  that  of  the 
Egyptians,  Greeks,  Ro- 
mans, Assyrians,  and  Byzantines,  as 
well  as  that  of  the  cruder  times  of  the 


*Paul  Poiret  truthfully  says  "There  are  gowns  which  express  joy  of  life;    those  which  announce  catastrophe;    gowns  that  weep; 
gowns  romantic;   gowns  full  of  mystery;   and  gowns  for  the  Third  Act." 


Page  Seventy-eight 


DESIGN 


Gauls  and  Franks.  Beginning  with  the 
French  costumes  of  the  fifth  century 
and  the  Enghsh  after  the  Norman  Con- 
quest in  the  eleventh  century,  we  come 
down  the  centuries  with  a  wonderful  un- 
folding of  both  beau- 
ty and  eccentricity  of 
design. 

There  are  many 
wonderful  costume 
books  that  may  be 
consulted  by  the 
designer  with  both 
enjoyment  and  profit. 
A  fairly  compre- 
hensive list  of  these 
will  be  found  on 
pages  127  and  128. 

42.  Hats.— Wlien 
seen  from  the  side, 
the  lines  of  the  crown 
of  the  hat  should  not 
extend  beyond  the 
line  of  the  forehead 
nor  beyond  the  hair 
in  the  back.  If  the 
hair  extends  far  in 
the  back,  the  hat 
should  come  between 
the  head  and  end  of 
the  hair  in  order  prop- 
erly to  balance  with 
the  spinal  column. 

People  with  small 
or  narrow  faces 
require  smaller  hats  than  those  with 
large  faces,  to  whom  larger  hats  are 
becoming.  Care  should  be  taken  not  to 
accentuate  undesirable  lines  or  features 
by  too  strong  repetition  or  opposition. 
Try  rather  to  neutralize  such. 

The  milliner's  problem  is  allied  to  that 


Courtesy  of  Ladles'  Home  Journal. 
Fig.  103. — Green  and  white  blouse  inspired  by  a  lily 
of  the  valley. 


from    the    chin    to 


of  the  sculptor  in  so  much  as  the  effect 
is  to  be  viewed  from  every  side  and,  ac- 
cording to  Beau  Brummel,  the  most 
important  part  of  a  woman's  hat  is  the 
back.  Beside  this,  the  laws  of  propor- 
tion demand  that  we 
consider  not  alone 
the  relation  of  the 
hat  to  the  head,  but 
also  the  relation  cf 
the  head  and  hat  to 
the  entire  figure. 
(For  illustration, 
headgear  too  large 
for  the  figure  gives 
a  clumsy,  awkward 
appearance.) 

Thus,  no  matter 
what  fashion  decrees, 
the  law  of  proper 
proportions  for  every 
individual  should  be 
sought  out  and 
obeyed,  even  if  it 
brings  about  a  dis- 
agreement with  the 
prevailing  modes. 

43.  Designing 
Hats.— The  height 
of  any  hat,  generally 
speaking,  should  not 
be  more  than  three- 
quarters  the  depth  of 
the  face.  (That  is, 
the  length  of  the  face 
the  eyebrows.)  The 
greatest  width  of  a  wide  hat  should  not 
exceed  three  times  the  width  of  the 
wearer's  face,  including  the  ears  and  the 
hair  at  the  sides  of  the  head.  The  greater 
width  is  often  at  the  left  side. 

The  crown  of  a  hat  is  very  important 


DESIGNING  HATS 


Page  Seventy-nine 


and  must  appear  to  cover  the  head  and     of  clothes  as  studies  in  the  flat  and  must 
also  any  puffs  of  hair.     People  with  large     aim    to    make    them    please    from    every 

side.  At  the 
same  time  we 
must  not  lose 


heads  should 
not  wear  hats 
with  small 
crowns.  On  the 
other  hand, 
people  with 
long,  thin  faces, 
and  plainly 
arranged  hair 
should  not  wear 
hats  with 
crowns  wider 
than  the  width 
of  their  faces 
and  hair.  If  we 
are  ever  to 
overcome  our 
bromidic  ten- 
dency in  dress, 
we  shall  have 
to  cultivate  an 
appreciation  of 
personality  and 
character  and 
become  so  in- 
terested in  type 
that  we  will 
resist  our  hith- 
erto sheep-like 
tendency  to 
follow     the 

modes,  even  when  they  distort  and  cari- 
cature us. 

The  designs  shown  in  Fig.  104  were 
made  by  Kelly  for  the  Globe.  In  designing 
we  must  get  away  from  the  consideration 


sight  of  unity 
and  must  never 
let  distracting 
details  interfere 
with  the  centre 
of  interest 
which  is  usually 
the  head.  In 
other  words,  we 
should  aim  to 
make  personality 
dominate  the 
clothes. 

For  a  most 
telling  illustra- 
tion  of    this 
last    point, 
study  the  paint- 
in  gs  of  Rem- 
brandt.    Note 
how    all    his 
wonderfully 
thought-out 
textures   and 
tones   of   gar- 
ments are  made 
subs  er vient 
to   his   char- 
acterization,  how  all  these  lead  up  to  the 
head  and  face  and  seem  arranged  to  per- 
fectly   reveal    the    individuality    of    the 
sitter,  his  occupation,  his  walk  in  life,  and 
his  inmost  character. 

Scale  must  be  considered  in  the  combination  of  textures,  for  instance  crystal  bugles  and  pearl  trimming 
that  could  be  successfully  combined  with  delicate  chiffons  or  silk  would  be  wholly  inappropriate  with  serge,  while  an 
Indian  bead  ornament  that  would  be  suitable  with  the  serge  would  be  out  of  place  with  the  chiffon.  Fluffy  chiffon  and 
lacy  things  or  baby  pinks  or  blues  are  out  of  place  with  tailored  or  mannish  things.  These  points  should  be  given 
serious  consideration  in  connection  with  such  accessories  as  parasols,  hats,  shoes,  gloves,  jewelry  and  dress  trimmings. 

Some  books  that  bear  directly  on  designing  are  Principles  of  Correct  Dress  by  Florence  Hull  Winterburn,  Color  Harmo- 
nies in  Dress  by  G.  A.  Audsley,  What  Dress  Makes  of  Us  by  Dorothy  Quigley,  Textile  and  Costume  Designing  by  Ellisworth. 


ic.  104. 


Courtesy  of  New  York  Globe. 
Drawing  in  which  wash  pencil,  craj-on  pencil  and  pen 
and  ink  are  combined. 


Robe    d  inteneur 

Courtesy  of  Vogue,  New  York  represeniattve  of  the  i 
From  a  color  illustration  by  George  Lepape, 


THE  FASHION  SILHOUETTE 

CHAPTER  SIX 


CHAPTER  SIX 


THE  FASHION  SILHOUETTE  * 


44.  Value  of  the  Silhouette.— The  Sil- 
houette is  the  foundation  of  all  fashions, 
and  it  is  most  interesting  to  study  its 
varied  aspect  through  the  centuries.  Taken 
in  a  literal  sense,  it  so  simplifies  the  cos- 
tumes of  the  period 
that  the  many  errors 
now  seen  in  the  cos- 
tume world  are  un- 
necessary to  even  the 
novice.  Much  less 
necessary  are  the  glar- 
mistakes 


Fig.  105. — ^The  gorget. 


mg  mistaKes  we  now 
see  in  print  in  regard 
to  Moyen  Age  and  Renaissance  costumes, 
as  well  as  those  of  the  eighteenth  and 
nineteenth  centuries,  that  period  of  much 
uncertainty  about  the  hoop  and  Empire, 
the  crinoline  and  bustle.  For 
this  reason  it  seems  advantage- 
ous, as  well  as  interesting,  to 
become  thoroughly  familiar  with 
costume  silhouettes  of  all  ages. 

The  silhouette  classifies,  sim- 
plifies, and  so  condenses  details 
that  both  time  and  trouble  are 
saved.  Curiously  enough,  this 
saving  is  what  its  name  sig- 
nifies, as  it  is  taken  from  the 
name  of  Etienne  de  Silhouette, 
Minister  of  Finance  to  France 
in  1759,  whose  public  economy  in  trying 
to  avert  national  bankruptcy  during  the 
reign  of  Louis  XV  caused  his  name  to 
be  given  to  things  ostensibly  economical. 

45.  Twelfth  to  Fifteenth  Centuries.— 
To  begin  with,  let  us  glance  at  Fig.  110, 


Fig.  107.— The 
wimple. 


Fig.  106.— XV  Century 
horned  head-dress. 


centuries  (the  tenth  and  eleventh  were 
so  nearly  like  the  twelfth  and  thirteenth 
that  drawings  are  omitted) . 
The  effect  is  of  everything 
hung  from  the  shoulder 
and  all  garments  rather 
loose.  The  head  was  usually 
more  or  less  bound  or  wrap- 
ped around,  though  at 
certain  times  in  certain 
localities  the  hair  was  worn 
in  long  braids.  The  four- 
teenth century  shows  the 
innovation  of  scallops,  the 
fifteenth  the  increased  length  of  hats  and 
shoes,  but  in  spite  of  these  touches  all 
belong  to  the  Moyen  Age,  to  things  that 
are  Gothic. 

It  is  interesting  to  see  these 
clothes  so  beautifully  described 
in  the  Gothic  Tapestries  and 
illuminated  books  of  the  time 
and  the  efiSgies  in  churches. 
See  Fig.  108.  In  the  eleventh 
century  the  wimple  was  wound 
around  the  head,  not  allowing 
the  hair  to  show;  about  a 
hundred  years  later  came  the 
fashion  of  the  chin  band  and 
forehead-strap.  See  Fig.  107. 
The  hair  was  still  hidden  by  the 
A  hundred  years  later  and  this 
earlier  headdress  had  been  followed  by  the 
gorget — a  piece  of  linen  wrapped  about 
the  neck  halfway  framing  the  face.  See 
Fig.  105.  Around  the  wimple  was  some- 
times tied  a  silk  band  called  a  snood.  The 
gown  was  still  long  and  loose  at  the  waist 


wimple. 


starting  with  the  twelfth  and  thirteenth 

*  This  chapter  is  reprinted  through  courtesy  of  the  New  York  Globe. 


Page  Eighty-four 


THE  FASHION  SILHOUETTE 


Fig.  108. — Showing  the  houppelande  or  XV  Century  robe.      Tlie  Giving  of  the  Rose,  a  Gothic  decorative 
tapestry  at  Metropolitan  Museum. 


with   sometimes   a   girdle,    remaining    so 
until  the  fifteenth  century. 

46.  Religious  Orders.  A  picturesque 
touch  of  this  early  costume  may  be  noted 
today  in  the  dress  of  the  nuns  and  sisters. 
The  Dominican  nuns  wear  practically 
the  same  garb  as  when  their  order  was 
instituted  by  Saint  Dominic  in  1218, 
including  the  rosary,  which  was  his  in- 
novation. Many  religious  orders  were 
founded  in  the  eleventh,  twelfth,  thir- 
teenth,  and  fourteenth   centuries  as,  for 


example,  the  Sisterhood  of  the  Annunci- 
ation at  Bourges  by  St.  Jeanne  de  Valois, 
daughter  of  Louis  XI  of  France.  Today 
they  bring  to  us  the  legend,  beauty  and 
romance  of  those  dark  ages.  They  breathe 
castles,  crusades,  monasteries,  and  con- 
vents. 

In  the  fifteenth  century,  as  the  pointed 
arches  of  the  Gothic  architecture  grew 
more  pointed,  the  head  covering  or  hen- 
nens  (see  Figs.  106  and  110)  as  well  as 
the  shoes  followed  suit,  so  that  in  this 


SIXTEENTH  CENTURY 


Page  Eighty-five 


century    came    the    high-water    mark    of 
extremes.     To  this  day  we  find  left  over 
traces  of  these  headdresses  in  some  of  the 
costumes  of  the 
peasants  in  re- 
mote districts  on 
the  continent. 

47.  Sixteenth 
Century.— The 
sixteenth  cen- 
tury  found 
great  changes, 
on  sea  and  land. 
Printing  had 
been  invented, 
America  had 
been  discovered 
and  the  first 
watches  made. 
The  silhouette 
was  greatly 
changed.  The 
Renaissance 
changed  the 
architecture  of 
dress  as  well 
as  of  every- 
thing else.  Al- 
brecht  Diirer 
has  left  us 
won  d  erf  ul 
contemporary 
sketches  of  the 
early  part  of 
this  century, 
the  originals  of 
which  are  in 
Nuremberg,  see 
Fig.  109. 

We  are  all  familiar  with  the  slashed 
sleeves  of  Henry  VIH  and  his  queens 
(1509-1547)  immortalized  in  the  portraits 


'% 


by  Hans  Holbein.     There  was  a  stiffening 
of  the  figure  and  a  tendency  toward  the 
smaller  waistline  in  the  sixteenth  century. 
-  -  It  might   be 

well  to  say 
,-^^  .  here  that  in  the 

twelfth  century 
lacing  is  sup- 
posed to  have 
come  in.  Cal- 
throp  tells  us 
in  his  history 
of  English 
Costume,  "Not 
that  the  lacing 
was  very  tight, 
but  it  com- 
menced the 
habit  and  the 
habit  begat  the 
harm,  and  the 
thing  grew  un- 
til it  arrived 
finally  at  the 
buckram, 
square-built, 
cardboard-and- 
tissue  figure 
which  titters 
and  totters 
through  the 
Elizabethan 
era."  Up  to  the 
fifteenth  cen- 
tury is  notice- 
able a  sense  of 
looseness,  of 
everything 
being  more  or 
less  supported  from  the  shoulders,  giving 
the  straight  lines  of  the  middle  ages. 
The   fifteenth    century    was    transitional; 


Courtesy  of  Art  Stvdent  Magtuine. 
Fig.  109. — Late  XV  Century  costume  drawing  by  Albrecht  Diirer. 


Page  Eighty-six 


THE  FASHION  SILHOUETTE 


iHMm 


Fig.  110. — How  the  different  centuries  affected  the  fashion  silhouette. 


Draim  by  Inez  Casseau. 


after    that    the    tight,    long    waists    and  women  of  that  day.     The  Puritans  and 

wide  skirts  came  to  stay  until  the  nine-  Pilgrims    both    are    distinguished  by  the 

teenth    century    brought    in    the  Empire  costumes  prevalent  at  the  time  they  were 

style.  organized   (period  of  James  I,  1603-1625, 

48.  Seventeenth  and  Eighteenth  Cen-  and  Charles  I,  1625-1649,  of  England). 


turies. — The  Eliza- 
bethan high  collar  was 
the  forerunner  of  the 
Charles  I  (1625-1649) 
flat  collar  and  cuffs 
of  which  the  Crom- 
wellian  period  (1649- 
1660)  was  a  simplifica- 
tion. The  drawings 
of  Hollar  give  excel- 
lent illustrations  of 
these.  The  Quaker 
dress  is  the  survival 
of  the  costume  of 
Charles  II  period 
(1660-1685),  although 
the  hat  is  minus  the 
feather — plain  linen 
takes  the  place  of 
lace.  The  shoes  are  the 
same,  but  without  the 
ribbon  or  roses,  really 
similar  in  every  way 


Fig.  111. — ^Early  XVI  Century  fashion  drawing  by 
Hans  Holbein. 


The  portrait  painters 
have  done  nobly  in 
preserving  for  us  the 
fashions  of  the  times 
through  the  costumes 
worn  by  their  distin- 
guished sitters.  Such 
men  as  Velasquez,  Van 
Dyck,  and  Rubens  in 
the  seventeenth  cen- 
tury, and  in  the  eigh- 
teenth  Watteau, 
Fragonard,  Nattier, 
Romne}',  Gainsborough, 
Lawrence,  Raeburn, 
and  Sir  Joshua  Rey- 
nolds have  left  us 
valuable  documents. 

Thus  we  pass 
through  the  sixteenth 
and  part  of  the  seven- 
teenth  centuries, 
leaving  the  time  of  the 


with    the    extravagance    eliminated    and  Renaissance  for  the  period  of  the  Louis  of 

simplicity    emphasized.     The  beaver  hat  France.     The    stately   dignity  and  truly 

and  hood  of  the  Quaker,  then  called  the  roya'  magnificence  of  Louis  XIV  was  fol- 

French    hood,    were    both    worn    by  the  lowed  by  the  less  formal  but   luxurious 


NINETEENTH  CENTURY 


Page  Eighty-seven 


iUil^t 


Fig.  112. 


Courtesy  of  London  Graphic. 


rococo  period  of  Louis  XV  (1723-1774),  the  classic  revival  of  the  Greek  and 
when  Pompadour  and  du  Barry  set  the  Roman,  modified  to  suit  the  climate  and 
styles  in  the  Parisian  world  of  fashion,  epoch.  This  revival  was  the  natural  out- 
Then    followed    the   reappearance  of  the  come  of  the  interest  people  were  taking 


hoop  and  the  more  extreme  though  re- 
fined attitude  toward  dress  during  the 
reign  of  Louis  XVI  and  Marie  Antoinette. 
In  England  at  this  time  George  III  was 
reigning  (1760-1820)  and  the  Shakers 
came  to  this  country 
wearing  what  con- 
stitutes their  cos- 
tume to-day  —  the 
wide,  pleated  skirt, 
bonnet  and  apron 
of  the  English  work- 
ing class. 

49.  Nineteenth 
Century.— The 
third  great  change 
in  the  silhouette  did 
not  come  until  the 
Directorate  in  1795, 
so  that  the  early 
nineteenth    century 


Fig.  113. — Quaint  styles  of  Kate  Greenaway. 


at  that  time  in- the  restoration  work  of 
the  buried  Pompeian  cities,  and  one 
sees  in  the  Empire  style  the  classic  type 
emphasized.  It  was  an  endeavor  for 
something  different,  something  essentially 
new,  for  anything 
suggesting  the 
former  royalty  was 
frowned  upon  by 
Napoleon.  It  is  in- 
teresting to  note 
that  it  was  back  to 
this  quaint  period 
that  Kate  Green- 
away  (1846-1901) 
loved  to  go  for  in- 
spiration. It  was 
she  who  revived 
these  costumes  of 
the  beginning  of  the 
nineteenth  century. 


found  the  narrow  skirts  and  short  waists  and  it  is  truthfully  said  in  this  style,  made 

conspicuous.     See  ^rst  silhouette  of  Fig.  still  more  beautiful  by  her  naive  touch,  she 

112.   Jacques  Louis  David,  the  court  painter  did  dress,  and  still  dresses,  the  children  of 

of   Napoleon,   was  a  strong  influence  in  two  continents.     See  Figs.  113  and  22. 


Page  Eighty-eight 

We  have  left  now  the  hoop  of  the 
eighteenth  century,  and  have  come  to 
the  nineteenth  century  with  its  Empire 
and  charming  1830  costume,  which  always 
makes  one  think  of  nosegays  and  old- 
fashioned  valentines  (see  Fig.  112)  and 
the  crinoline  of  1840,  which  made  the 
skirt  grow  wider  until  1864.  (To  get  the 
atmosphere  of  this  time,  look  at  George 
Du  Manner's  illustrations  of  Owen  Mere- 
dith's "Lucile.")  Fashion  then  took  a 
turn  and  the  skirt  began  in  1865  to  grow 
narrower  until  in  the  winter  of  1869-1870 
the  bustle  and  the  draped  skirts  appeared. 
In  this  one  century,  therefore,  with  its 
narrow  skirts,  its  bell  skirts,  its  wide 
skirts,  its  bustles,  and  its  draped  skirts, 
there  were  really  many  more  definite 
changes  than  in  the  ten  centuries  of  sil- 
houettes we  have  been  examining. 

While  speaking  of  skirts,  small  mention 
has  been  made  of  sleeves,  but  they  sil- 


THE  FASHION  SILHOUETTE 

houette  quite  as  well  as  the  other  parts 
of  the  costume,  with  even  the  added  in- 
terest of  the  fact  that  down  through  the 
centuries  the  sleeves  of  men  and  women 
were  very  much  alike,  no  bigger  no 
smaller,  until  the  nineteenth  century,  when 
the  leg-of-mutton  sleeve  was  affected  also 
by  men.  That  seems  to  have  been,  how- 
ever, the  time  of  emancipation,  for  then 
men's  sleeves  became  small  and  have  re- 
mained so  ever  since. 

The  thirty  beautiful  little  period  dolls 
in  the  Metropolitan  Museum  illustrate 
how  truly  the  silhouette  has  kept  for  us 
the  fleeting  shadow  of  the  passing  cen- 
turies. Let  us  then  not  deny  or  push 
-  aside  the  silhouette  as  of  small  importance. 
Historically  it  is  valuable,  and  the  paths 
it  leads  us  through  in  the  study  of  cos- 
tume are  full  of  beauty  and  varied  interest. 
It  is  with  the  silhouette  in  mind  that  we 
should  observe  every  fashion. 


1199  1350  IJ2J  1580  1640  1660  1723  1620 

Drawn  by  Maraaret  Calderhead. 
How  different  centuries  have  affected  the  silhouette  of  men. 


PERIOD  FABRIC  DESIGN 

CHAPTER         SEVEN 


CHAPTER  SEVEN 


PERIOD  FABRIC  DESIGN 


50.  Primitive  Design. — Primitive  de- 
sign, often  so  fresh  and  simple  in  treat- 
ment and  character,  does  not  differ  much 
in  units.  The  United  States  Government 
pubhshed  in  1894  a  report  that  the  results 
of  its  researches  showed 
that  the  san^e  swasticka 
used  in  prehistoric  America 
had  also  been  found  in 
India,  Eastern  Turkestan, 
Northern  Europe,  Southern 
Europe,  Asia  Minor, 
Greece,  Rome,  Northern 
Africa  and  Byzantium.  So 
much  symbolic  significance 
is  often  attached,  or  some 
strict  religious  meaning, 
that  design  is  a  deep  and 
interesting  subject  from  an 
ethnological  point  of  view, 
but  "simple  pictorial  ex- 
pressions are  of  world 
usage  and  are  not  suffici- 
ently intricate  to  consti- 
tute original  thought." 
In  these  the  student  of 
design,  however,  can  find 
splendid  motives  for  mod- 
ern treatment.  See  Fig.  114.  This  ma- 
terial was  designed  from  a  unit  on  an 
Indian  basket. 

51.  Influence  in  Design. — We  know 
that  the  early  civilized  races  had  inter- 
course, and  we  see  the  influence  of  this 
in  their  designs.  We  find  Greek  influence 
in  the  art  of  China,  and  for  hundreds 
of  years  B.C.  the  arts  of  Assyrians,  Egyp- 
tians,  and   Persians   were   allied   through 


Fig.  114 


wars    and    conquests,    and    their    designs 
were  often  similar. 

The  affinity  between  the  Art  of  India 
and  Japan  is  close  on  account  of  Bud- 
dhism, which  exercises  a  strong  influence 
over  both  peoples.  The 
Art  of  Japan  and  China 
is  also  somewhat  similar; 
indeed,  at  times  the  dif- 
ferences are  difficult  to 
determine.  The  Japanese 
have  a  greater  love  for 
detail  and  do  not  con- 
ventionaHze  in  as  broad 
a  way  as  the  Chinese, 
but  many  of  their  forms 
are  identical.  It  is  inter- 
esting to  know  that,  where 
this  is  the  case,  the  in- 
fluence can  be  traced  to 
India. 

The  Japanese  in  their 
designs  show  a  great  love 
for  nature — flowers,  moun- 
tains, waves,  dragons, 
tortoises,  etc.,  and  the 
method  used  is  usually 
picturesque  (in  spite  of 
its  interesting  conventionality)  instead  of 
formal. 

52.  Early  Fabrics  and  Designs. — In 
outlining  period  fabric  design,  Egypt  must 
first  be  mentioned,  where  weaving  was 
known  3000  b.c.  Examples  of  ancient 
fabrics  dating  as  far  back  as  1000  B.C. 
can  be  seen  in  the  Louvre,  Paris.  While 
we  know  that  checkered  rugs  were  woven, 
we   find    that   garments   during   the   Old 


Drawn  and  designed  by  G.  Rothschild 

Design  motive  from  Indian 
basket. 


Page  Ninety-two 


PERIOD  FABRIC  DESIGN 


Fig.  115. — Greek  Doric 
cx)stume  from  Hope. 


Kingdom,  Dark  Ages, 
Middle  Kingdom, 
Period  of  Shepherd 
Kings,  and  New 
Empire,  i.e.,  from 
2980  B.C.  until  945 
B.C.,  were  usually 
made  of  linen  and 
wool,  woven  by  hand. 
While  the  dyes  used 
were  principally  red, 
blue,  and  saffron, 
white  seems  to  have 
been  most  worn.  The 
material  was  plain, 
the  decoration,  if  any, 
being  embroidery  at 
the  hem.  While  fond 
of  ornamentation,  the 
people  during  this 
time  seem  to  have 
depended  on  their 


wigs  and  headdresses,  collars,  hanging 
straps,  armlets,  and  leg  decorations, 
and  not  to  have  introduced  figures  in 
their  weaves.     See  Fig.  116. 

The  Copts  or  Egyptian  Christians, 
like  the  Greeks  and  Romans,  wore 
wonderfully  woven  or  embroidered 
bands  on  their  garments,  the  color 
and  designs  of  which  are  most  inter- 
esting. Good  examples  are  to  be  seen 
in  the  Coptic  Room,  Metropolitan 
Museum  of  Art,  and  in  the  Cooper 
Union  Museum. 

53.  Greek  Dress. — The  Greeks  used 
wool  linen,  and  silk.  Linen  and  silk 
were  used  for  the  more  extravagant 
costumes  of  the  later  period,  though 
they  had  cotton  in  small  quantities. 
Cotton  belonged  to  India;  it  did  not 
become   known   to  Europe  until  the 


invasion  of  Alexander  the  Great.  It  was 
too  expensive  for  large  garments  and  was 
a  deep  yellow  in  color.. 

The  Doric  and  Ionic  chitons,  or  dress, 
and  the  himation,  or  cloak,  were  used  in 
different  colors.  Blue  and  Tyrian  purple 
as  well  as  red  and  yellow  were  popular. 
Different  borders  were  often  combined 
in  the  Greek  costume  with  an  all-over 
design.  See  Fig.  115.  The  designs  were 
frequently  emblems,  and  birds,  animals 
or  flowers.  The  garments  were  woven 
in  one  piece  which  was  complete  in  itself. 
The  long,  graceful  folds  of  this  single 
garment  produced  a  decorative  and  simple 
effect,  and  it  is  interesting  to  note  also 
the  different  effects  obtainable  by  chang- 
ing the  position  of  the  girdle.  This  was 
worn  at  the  waist  in  the  Archaic  period. 


116. — Costume  of  man  and  woman  of  Egypt  about  2500  B.C. 
from  Kistoire  de  L'Art  Egyptian. 


ROMAN  DRESS 


Page  Ninety-three 


over  the  hips  in  the  Golden  Age,  and 
under  the  arms  at  the  last  period. 

Interesting  and  detailed  accounts  of 
Greek  costumes  may  be  found  in  Evans's 
Greek  Dress  and  Edith  Abraham's  Greek 
Dress;  good  illustrations  in  Hope's  Cos- 
tume of  the  Ancients. 

54.  Roman  Dress. — The  Romans  and 
Greeks  imported  much  material  from 
Babylonia.  Some  of  the  silk  is  described 
as  having  a  nap  on  both  sides  (velvet), 
and  as  gold,  scarlet  and  purple  in  color. 
The  Roman  women  wore  a  tunic,  a  stola 
(like  the  Grecian  chiton),  and  a  palla, 
which  corresponded  to  a  Roman  man's 
toga,  or  a  Grecian  woman's  himation. 
The  Roman  women  added  a  ruffle  to 
their  dress  which  was  often  elaborately 
decorated.  Silk  was  at  a  premium,  but 
was  frequently  mixed  in  weaving  with  wool 
or  linen.  With  the  exception  of  more 
elaboration,  the  fabrics  did  not  differ 
much  from  the  Grecian. 


Fig.  117. — Italian  XIV  Century  costumes  from  Jacquemin. 


55.  Influ- 
ence of  the 
E  a  s  t  .— 
Fabrics 
seem  always 
to  have 
drawn  their 
inspiration 
from  the 
East.  We 
find  the 
Gauls  after 
the  conquest 
of  Csesar, 
55  B.C., 
adopting  a 
somewhat 
m  odified 
form  of  the 
Roman  cos- 
tume. The 
Franks  in 
taking  possession  of  Gaul  gradually  (from 
the  third  to  the  fifth  century  a.d.),  while 
they  did  not  part  with  their  costume  as 
a  whole",  the  women  retaining  their  veils 
for  some  ten  centuries,  adopted  the  Byzan- 
tine styles,  for  the  Eastern  influence  of 
the  Roman  Empire  continued  after  the 
arrival  of  the  Franks.  We  find  both  men 
and  women  in  the  ninth  and  tenth  and 
twelfth  centuries  wearing  stuffs  brought 
from  the  East,  even  after  the  art  of 
embroidery  became  generally  understood, 
and  tapestry  weaving  and  applique  work 
was  carried  on  in  Europe. 

56.  Weaving. — WTiile  mechanical  weav- 
ing was  done  in  Egypt  2000  B.C.,  the  more 
complex  use  of  the  shuttles  by  vhich 
figures  were  produced  without  embroider- 
ing was  not  known  until  200  a.d.  It  was 
then  done  by  the  Syrian  weavers  in  the 


Fig.  118. — XIV  Century  parti-colored 
dresses — from  Jacquemin. 


Page  Ninety-four 


PERIOD  FABRIC  DESIGN 


Eastern  Roman  Empire. 
For  many  years  the  devel- 
opment of  weaving  was 
slow,  and  the  repeat  pat- 
terns were  of  the  simplest 
kind.  Ornamental  silks 
were  first  produced  in 
Europe  500  a.d.;  they 
were  Roman  and  Byzantine 


to  the  twelfth  century. 
These  were  sometimes 
linked  together,  large  circles 


Fig.  120.— XVI  Century  trunk 
motive. 

The  design  consisting  of 
a  circle  or  square  frame 
developed  in  the  first  cen- 
tury; for  the  next  five 
hundred  years  circles  or 
squares,  sometimes  filled 
with  Persian  or  Syrian 
floral  detail,  persisted. 
This  same  design  was  used 
for  centuries  afterwards  for 
stained  glass. 

About  400  to  600  a.d. 
broken  circles  came  in,  the 
upper  and  lower  segments 
spreading  out  to  form 
bands.     Circles  continued 


Fig.  119.— XIII  Century  formal 
arrangement. 

being  joined  by  small  ones 
at  points  of  contact,  and 
the  patterns  often  becom- 
ing quite  elaborate.  The 
Saracenic  hexagon  geomet- 


rically arranged  was  also 
used.  Up  to  the  thirteenth 
century  a  formal  arrange- 
ment was  often  followed, 
consisting  of  balanced 
groupings  of  birds,  beasts, 
and  men  placed  face  to 
face  or  back  to  back. 


Fig.  121.— XVII  and  XVIII 
Century  scroll  motive. 


Fig.  122.— XIV  and  XV  Century 
animal  arrangement. 

The  ogival  form  is  a 
form  of  design  in  which 
the  joining  circles  are 
brought  into  acute  juncture, 
forming  ovals.  This  design 
came  in  about  800  a.d., 
and  like  most  things  that 
were  pointed,  it  continued 
through  the  Gothic  period. 

In  700  A.D.  Spain  was 
progressing  with  silk  weav- 
ing. About  this  time  also, 
merchants  from  Syria 
opened  establishments  in 
Paris.  In  800  a.d.,  the 
Daughters  of  Charlemagne 


USE  OF  GOLD  THREAD 


Page  Ninety-five 


did  silk  weaving,  but  up  to  the  eleventh 
century  the  making  of  fine  fabrics  was 
practically  monopolized  by  Athens,  Thebes, 
Corinth,  and  Constantinople. 

No  great  extravagance  had  reached 
France  before 
this.  In  the 
tenth  century 
we  read  of  its 
king,  Charles 
the  Simple, 
possessing  but 
three  shirts 
In  the  four- 
teenth century 
Isabeau  de 
Baviere,  com- 
ing to  marry 
Charles  VI, 
was  thought  to 
be  showing  an 
extraordinary 
degree  of  lux- 
ury in  having 
three  dozen 
chemises  in 
her  trousseau. 

The  return  of  the  Crusaders  initiated 
the  nobility  of  France  into  the  luxury  of 
the  Orient. 

57.  Use  of  Gold  Thread. — Drawn  gold 
thread  was  not  used  in  early  fabrics,  but 
gold  leaf  on  paper  rolled  around  a  fine 
thread  of  silk  was  employed.  Sicilian 
fabrics  of  the  thirteenth  and  fourteenth 
centuries  frequently  show  a  purple  ground 
of  twilled  silk  with  birds  and  foliage 
formed  by  gold  thread  weft.  Saracenic 
or  Hispano-Moresque  fabrics  of  Spain  are 
distinguished  by  splendid  crimson  or  dark 
blue  conventional  patterns  of  silk  upon 
a  yellow  ground,  and  by  frequent  use  of 


Fig.  123. 


strips  of  gilded  parchment  in  place  of 
rolled  gilt  thread.  Undoubtedly  through 
the  influence  of  the  Crusades,  the  Sicilian 
weavers  of  the  thirteenth  and  fourteenth 
centuries  produced  many  fabrics  enriched 

with  winged 
lions,  crosses, 
crowns,  rayed 
stars,  harts,  or 
birds,  linked 
together  with 
floriations  or 
armorial  bear- 
ings. See  Fig. 
117. 

58.  Parti- 
colored Dress. 
— The  same 
in  f 1 uence 
which  brought 
with  the  Per- 
pendicular 
Gothic  the 
introduction 
of  heraldic 
forms,  such  as 
shields,  crests 
and  badges,  found  women  of  rank  wearing 
parti-colored  dresses;  a  division  which 
practically  cut  the  figure  in  half,  the  right 
side  representing  the  arms  of  the  husband, 
the  left  that  of  the  lady's  own  family. 
See  Fig.  118. 

Late  in  1200  a.d.  this  character  of 
design  was  introduced  into  Northern  Italy. 
Genoa  adopted  much  that  was  Persian 
from  the  twelfth  to  the  seventeenth 
centuries,  and  in  the  fifteenth  century, 
when  Louis  XI  encouraged  the  art  of 
weaving  in  France  at  Tours,  and  later 
at  Lj'ons  under  Francis  I  (1515),  the 
Persian  and  Italian  fabrics  were  closely 


Courtesy  of  the  Metropolitan  Museum  of  Art. 


Painting  by  Hans  Memling  of  Betrothal  of  Saint  Catherine 
showing  surcot  and  fabrics  used  in  XV  Century. 


Page  Ninety-six 


PERIOD  FABRIC  DESIGN 


followed,  and  the  vase  pattern  was 
adopted. 

The  Oriental  character  of  design  in 
textiles  did  not  entirely  disappear  until 
the  seventeenth  century  when  the  gardens 
of  Versailles  and  the  Trianons  under 
Louis  XIV  inspired  the  use  of  European 
flora. 

59.  Classification  of  Fabric  Designs. — 
The  following  brief  classification  will  be 
found  helpful  in  placing  fabric  designs 
in  their  proper  periods. 

Twelfth  and  thirteenth  centuries,  for- 
mal arrangement.     See  Fig.  119. 

Fourteenth  and  fifteenth  centuries,  ani- 
mal figures.     See  Fig.  122. 

Sixteenth  and  seventeenth  centuries, 
trunk  motives.     See  Fig.  120. 

Seventeenth  and  eighteenth  centuries, 
scroll  motives.     See  Fig.  121. 

For  a  more  detailed  outline  we  can  refer 
to  that  given  by  Clifford,  in  his  book  on 
Period  Furnishings,  in  conjunction  with 
his  well-chosen  illustrations. 

"I.  200-400  A.D.  The  development  of 
circle  and  geometric  frames,  sometimes  filled 
with  simple  floral,  bird  or  animal  forms. 

"II.  400-600  A.D.  The  utilization  of 
broken  circles  spread  out  to  form  bands. 

"III.  600-1000  A.D.  The  use  of  circles 
linked  by  smaller  circles,  with  ornaments 
inside  and  out,  developing  at  length  the 
ogival  form;   often  hexagon  framework. 

"IV.  1000-1350  A.D.  Repeated  parallel 
bands  or  ornamentation,  detached  details, 
patterns  animated  and  inanimated,  en- 
closed in  ogival  framing  and  combination 
circles  or  scale  patterns  as  well  as  geo- 
metric straight-line  framing.  1200-1300 
introduced  features  of  design,  as  eagles, 
falcons,  etc. 


"V.  1350-1500.  A  characteristic  design 
of  the  fifteenth  century  was  the  use  of 
reversed  curves  so  firranged  that  they 
made  frames.  (The  panels  of  Jeanne 
d'Arc,  painted  by  Boutet  de  Monvel  and 
owned  by  Senator  William  A.  Clark,  give 
very  fine  illustrations  of  the  textures  used 
at  this  period;  they  may  be  seen  certain 
days  upon  written  request.  Both  the 
surcot,  which  was  now  gradually  disap- 
pearing, and  the  houppelande,  or  robe, 
which  was  appearing,  lent  themselves 
magnificently  to  these  fabrics.) 

"This  form  utilized  the  Hogarth  line  of 
beauty.  Another  form  was  the  inter- 
section of  a  Hogarth  panel  by  two  bold 
curving  stems  coming  up  through  the 
bottom  of  the  panel  and  capped  by  a  cone 
pineapple  or  fruit  device. 

"Still  another  showed  a  serpentine  stem 
or  winding  trunk  which  ran  through  the 
Hogarth  pattern  in  the  midst  of  a  variety 
of  botanical  forms.     See  Fig.  123. 

"VI.  1500.  Designs  adopted  a  free  treat- 
ment. The  plans  of  previous  centuries 
were  combined  and  elaborated.  Orna- 
ment was  arranged  with  ogival  frames, 
springing  out  of  the  frame  to  which  it 
seems  to  be  attached.  Interlacing  of 
two  frames  of  which  one  is  ogival.  Ogival 
frames  of  leaves  and  flowers  enclosing  a 
large  concentric  pattern.  Elaborate  ogival 
frames  caught  together  by  crowns.  The 
use  of  vases,  urns,  crowns  and  animals 
became  common. 

"VII.  1600-1700.  During  this  time  we 
find  an  elaborate  use  of  European  garden 
flowers  instead  of  purely  tropical  Persian 
verdure,  following,  however,  the  general 
ogival  form  arrangement. 

"  VIII.  1700.  Pictorial  tapestries  and 
prints.     Pure  Renaissance  styles,  or  devel- 


SIXTEENTH  AND  SEVENTEENTH  CENTURIES         Page  Ninety-seven 


opments  of  that  style.  Louis  XIV  or  XV. 
Oriental  characteristics  of  either  the 
French  or  English  styles  as  shown  in  the 
scenic  bits  of  Chinese  or  East  Indian  life. 
Louis  XVI  classic  revival  examples  as  ex- 
pressed by  the  late  Louis  XVI. 

"Directoire  or  Transition  period  in 
France  and  the  Adam  school  in  England. 
This  period  overlapped  into  1800  and  was 
generally  adopted  in  American  colonies. 

"IX.  Empire  and  Empire  influence." 

60.  The  Sixteenth  and  Seventeenth 
Centuries. — In  the  sixteenth  and  seven- 
teenth centuries,  three  distinct  types  of 
design  were  seen,  the  Renaissance,  the 
Oriental  Renaissance  and  the  European 
floral.  The  Renaissance  brought  a  change 
from  the  accustomed  following  of  Persian 
Oriental  design,  and  such  motifs  as  the  Per- 
sian rose  and  pink,  the  Rhodian  lily  and 
pomegranate  gave  way  to  such  Egyptian, 
Roman,  and  Greek  motifs  as  the  Anthe- 
mion.  Acanthus,  Lotus  and  Iris.  The 
second  or  Oriental  Renaissance  was  really 
Portuguese-Persian,  or  the  spirit  of  the 
Renaissance  influencing  the  East  through 
commercialism.  The  third  or  European 
flora  was  developed  about  1650  during 
the  reign  of  Louis  XIV,  when  the  ferns  and 
flora  of  the  Royal  Gardens  came  into  use 
as  motifs. 

In  studying  the  periods  it  must  not  be 
overlooked  that  the  Dutch  brought  East 
Indian  types  into  England  under  Elizabeth, 
the  Jacobean,  and  Queen  Anne  reigns, 
and  that  the  influence  of  China  was 
strong  in  France  during  the  reign  of 
Louis  XV,  and  in  England  under  the 
Georges.  The  East  India  Company  in 
1609  reserved  all  strange  fowls  and  beasts 
to   be   found    there,    "for   the    Council." 


This  brought  the  parrot  and  cockatoo  in 
wicker  cages,  and  similar  motifs,  much  into 
evidence  in  the  embroideries  and  printed 
fabrics,  so  full  then  of  animal  and  floral 
design  of  Eastern  character.  The  British 
rule  in  India  created  a  demand  as  early 
as  1760  for  Indian  goods,  and  India  cot- 
tons, dimity,  and  gauze  were  used  in  both 
England  and  France. 

61.  Paris  Becomes  the  Centre  of 
Fashion. — For  centuries  Italy  was  the  ^ 
centre  from  which  foreign  courts  adopted 
both  fashions  in  clothes  and  customs. 
It  was  not  until  the  seventeenth  century 
that  Paris  became  the  centre  and  home  of 
taste.  Several  things  had  much  to  do 
with  bringing  this  about.  First,  a  great 
and  appreciative  impetus  was  given  in- 
dustry by  Colbert,  the  able  minister 
of  Louis  XIV.  Secondly,  at  this  time 
long  dresses  were  abandoned  and  the 
vogue  for  large  Italian  patterns  ceased. 
Thirdly,  the  discovery  of  a  way  around 
the  Cape  of  Good  Hope  had  much  to 
do  with  the  trade  in  silks  turning  from 
Italy  to  Asia. 

Under  Louis  XIV  artists  held  high  posi- 
tion; it  was  an  ambitious  period.  World 
forces,  conquests  and  statecraft,  as  well 
as  the  taste  of  Louise  de  la  Valliere,  Ma- 
dame de  Montespan,  Mile,  de  Fontanges 
and  Madame  de  Maintenon  influenced  the 
arts  of  the  time.  The  magnificent  gardens 
that  were  built,  besides  the  motifs  sug- 
gested by  European  floriculture,  brought 
in  festoons,  vases,  architectural  designs, 
etc.  It  was  under  this  king  and  his 
minister,  Colbert,  that  the  highest  achieve- 
ment in  lace  making  was  reached  in 
France.  Lace  is  supposed  to  have  been 
introduced  into  France  by  Catherine  de 
Medici,  wife  of  Henry  II,  in  1547. 


Page  Ninety-eight 


PERIOD  FABRIC  DESIGN 


On  the  other  hand,  the  arts  of  Louis 
XV  had  the  stimulus  qi  social  life,  and 
were  full  of  ostentation  and  extravagance. 
We  find  much  less  symmetry  or  balance 
in  the  motifs,  which  were  shells,  feath- 
ers, ribbons,  knots,  garlands,  and  Chinese 
and  Japanese  fancies.  Pronounced  stripes 
I  were  affected  as  creations  of  Madame 
Pompadour,  and  many  charming  gowns 
were  made  of  the  flowered  silks  named 
for  this  favorite  of  the  King. 

62.  Period  of  Louis  XVI.— By  the  end 
of  the  eighteenth  century  heavy  materials 
\,  had  fallen  from  favor  and  less  metallic 
effects  were  sought  in  weaving,  but 
oriental  foliation,  which  was  used  be- 
fore and  during  the  Renaissance,  again 
came  in. 

Under  Louis  XVI  the  designers  fol- 
lowed innumerable  paths  under  the  im- 
pulse of  capricious  fashion.  We  have 
Arabesque  composition,  foliage,  flowers, 
figures,  landscapes,  country  scenes,  alle- 
gories and  Chinese  ornament. 

In  the  fabrics  we  find  stripes  and  rib- 
bons combined  with  flowers.  Stripes  were 
so  much  used  that  in  1788  it  was  said  that, 
"Everybody  in  the  king's  cabinet  looks 
like  a  zebra."  Unlike  the  Pompadour 
stripe,  the  Queen  Marie  Antoinette  stripes 
1/  were  interwoven  wuth  flowers  and  orna- 
ments such  as  feathers,  medallions,  lyres, 
columns,  etc.  Marie  Antoinette  liked 
flowers,  the  pink,  the  tulip,  but  best  of 
all  the  rose,  and  the  impetus  she  gave  the 
production  of  lace  in  the  beginning  of 
her  reign  shows  the  influence  of  her  taste, 
which  is  everywhere  seen  in  the  entwined 
ribbons  and  garlands. 

63   Directoire  and  Empire  Designs.— 


The  Revolution,  1789-99,  brought  in 
simpler  materials;  cotton,  India  prints, 
and  law^n  were  used.  Colbert  had  put  a 
stop  to  their  use  in  former  years  because 
it  threatened  his  pet  silk  industry. 

The  Directoire,  1795  to  1804,  followed 
this  Revolution,  and  this  was  the  tran- 
sition period  between  the  classicism  of 
the  late  king  and  the  stronger  style  of 
the  Empire.  The  India  shawl — introduced 
after  the  Egyptian  campaign — was  much 
worn.  This  led  to  a  French  imitation  and 
then  to  the  Paisley  copy  made  in  Scotland, 
the  Persian  design  of  which  has  been  so 
popular. 

The  transition  period  was  largely  in 
combination  with  much  that  was  Egyp- 
tian in  character.  The  bee,  laurel  branch, 
wreath,  helmeted  warriors,  etc.,  w'ere  now 
used  as  motifs  and  stripes  were  still 
popular.  This  had  marked  influence  and 
effect  upon  laces  now  wholly  lacking  in 
freedom  of  design. 

The  costume  of  the  Empire  was  usually 
more  or  less  Oriental  in  ornamenta- 
tion, texture,  and  color.  Napoleon's  cam- 
paigns resulted  in  bringing  into  France 
the  accumulated  treasures  of  centuries, 
which  became  a  source  of  inspiration, 
and  left  a  characteristic  imprint  upon 
the  period. 

Fabric  design  reveals  much  of  the  his- 
tory and  atmosphere  of  each  century  and 
is  worthy  of  intelligent  study  and  con- 
sideration, not  only  by  students,  but  by 
all  who  wish  to  develop  their  knowledge 
and  appreciation  of  beauty. 

See  Die  Gewebe  Sammlung  des  Kunst- 
gewerbe  Museum  von  Julius  Lessing,  and 
Seidenweberei,  Otto  von  Funke. 


OUTLINE  OF  HISTORIC  COSTUME 

CHAPTER  EIGHT 


CHAPTER  EIGHT 


OUTLINE  OF  HISTORIC  COSTUME- 


History  and  Dress 

64.  Egyptian  Costume. — (a)  Men.  (1) 
Old  Kingdom,  4th,  5th,  and  6th  Dynasties 
(2980-2475  B.C.) .  Memphis,  capital. 

Lower  classes  wore  a  belt  tied 
around  the  waist  with  hanging 
ends  down  the 
front  (see  Fig. 
127),  a  kilt-like 
loin  cloth  (see 
Fig.  129),  or  a 
skirt  apparently 
made  of  rushes 
(see  Fig.  128). 

In  the  5th 
Dynasty,  trian- 
gular erection 
came  in,  being 
temporarily 
adopted  by  the 
king  in  this  dy- 
nasty. See  Fig. 
124  of  Perneb, 
representing  an 
Egyptian  noble- 
man in  full  dress. 
Both  men  and 
women  shaved 
their  heads  and 
wore  wigs.  Men 
appear  to  have 
gone  nude  when 
engaged  in  stren- 
uous exercise. 

(2)  Dark 
Ages,  6th  to 
12th   Dynasty. 

No  change  in  costume  shown. 

(3)  Middle  Kingdom,  12th  and  13th 
Dynasties  (2160-1788  B.C.).  Thebes,  capital. 


Courtesy  of  Metropolitan  Museum. 
Fig.  124.  Fig.  125.  Fig.  126. 

Egyptian  costumes.     Showing  a  woman's  costume,  the  triangular 
erection  and  the  leopard  skin  worn  by  priests. 


Courtesy  of  Metropolitan  Museum 
Fig.  127.  Fig.  128.  Fig.  129. 

The  costumes  worn  by  men  in  Egvpt  during  the  Old  Kingdom 
(2980-2475"^  B.C.). 


Skirts    became    longer     and     narrower, 

and     were    closed     in     front,     with     one 

side   lapping   over    the  other.      When    of 

transparent  material,    a  skirt  of 

thicker    material     in    the    shape 

of    the    short    kilt    of     the    Old 

Empire  was  worn 

underneath. 

(4)  Period  of 
Shepherd  Kings, 
13th  to  18th 
Djnasty.  Israel- 
ites came  down 
into  Egypt. 

No  change  in 
costume  shown. 

(5)  New  Em- 
pire, 18th,  19th 
and  20th  Dy- 
nasties (1580-945 
B.C.).  Thebes, 
capital. 

In  the  18th 
Dynasty  a  tunic 
was  sometimes 
added.  This  was 
open  on  the 
right  side  and 
had  a  short  left 
sleeve. 

Many  changes 
in  skir+s  now 
took  place,  plait- 
ed  effects  be- 
came popular. 
See  Fig.  131. 
Cloaks    were 
worn  from  the  time  of  the  4th  Dynasty, 
but    became    generally    used    during   the 
Middle  Kingdom.     See  Fig.  130. 


Page  One  Hundred  Two 


OUTLINE  OF  HISTORIC  COSTUME 


Apron-like  decoration 
was  worn  from  the  4th  to 
the  20th  Dynasty.  Men 
were  clean  shaven,  and  wore 
wigs  and  false  beards.  Ker- 
chiefs were  often  used. 
Leopards'  skins  were  worn 
by  priests.     See  Fig.  126. 

(b)  Women.~^th  to  18th 
Dynasty. 

All,  with  the  exception  of 
some  servants  and  dancing 
girls,  wore  a  simple  costume 
from  bust  to  ankles,  very 
tight  without  folds,  some- 
times held  on  by  one, 
sometimes  by  two  shoulder 
straps,  and  sometimes  by 
a  necklace.  See  Fig.  125. 
Embroidery  was  frequently  used 

In  the  18th  Dynasty 
the  dress  was  carried 
over  the  left  shoulder, 
plaits  became  popular, 
and  a  left  sleeve  was 
introduced.  In  the 
20th  Dynasty  a  thick 
under  dress  was  used. 
White  seems  to  have 
been  in  favor,  also  red, 
saffron,  and  blue. 

Both  men  and  wo- 
men wore  sandals  in 
the  street.  The  collar 
was  an  important  dec- 
oration and  was  made 
of  papyrus  decorated 
with  beads  or  embroi- 
dered in  wool. 

Bracelets  and  leg 
decorations  were 
largely  used.     These        fig 


Courtesy  of  MetropolUan  Museum. 
Fig.  130. — An  Egyptian  cloak. 


on  borders. 


CouTtesy  of  Metropolitan  Museum. 
131. — Plaited  effects  of  the  New  Empire 


were    of    metal    and    em- 
broidery. 

(c)  Emblems  or  Symbols. — 
Upper  Egyptian  crown, 
red. 

Lower  Egyptian  crown, 
white. 

When  one  king  ruled 
both,  he  wore  a  combina- 
tion of  the  above. 

Lotus  signified  abun- 
dance. 

Globes  signified  eternal 
life. 

Vulture  signified  the  roy- 
alty of  a  queen. 

Asp  signified  the  kingly 
authority. 
Hanging   straps   indicated    authority. 

Reference  Books 

Bulletin  of  the  Met- 
ropolitan Museum  of 
Art,  Vol.  XI,  No.  11, 
for  Ancient  Egyptian 
Kerchiefs,  and  The 
Dress  of  the  Ancient 
Egyptians,  both  pub- 
lished by  the  INIetropol- 
itan  Museum  of  Art; 
Prisse  d'Avennes,  His- 
toire de  L'Art  Egypt;  The 
Book  of  the  Dead,  tac- 
shmleoi  PapyrusofAniy 
in  the  British  Museum; 
Wilkinson,  The  Ancient 
Egyptian;  Erman,  Life 
in  Ancient  Egypt,  Chap- 
terX;  Breasted,^ waeni 
Times;  Racinet,  History 
of  Costume. 


GREEK  COSTUME 

History  and  Dress 
65.  Greek  Costume. — (1) 
Pre  -  Hellenic  otherwise  called 
Minoan  or  Mycenaean  Age 
(2800-1200  B.C.).  See  Fig.  132. 
]Men  wore  waist  cloth  with 
hanging  ends.  Women  wore 
tight-fitting  waists  and  flounced 
skirts.     See  Fig.  133. 

(2)  Homeric  or  Heroic  Age 
(1200  B.C.). 

Both  men  and  women  wore 
a  simplified  costume  not  unlike 
the  classic. 

Dorian  Invasion,  8th  century 
B.C.  Rise  of  Sparta,  inhabitants 
called  Dorians.  Rise  of  Athens, 
5th  century  B.C.,  inhabitants 
called  lonians. 

(3)  Classic  Period.    Costume 
of     Greek     men     and 
women  was  the  same 
except  that  of  the  men 
was  more  abbreviated. 

(a)  Chiton  or  dress. 

(6)  Himation  or 
cloak.     See  Fig.  135. 

(c)  The  chlamys  or 
short  coat  was  worn 
on  horseback.  The 
chiton  or  dress  was  of 
two  kinds.  The  Doric 
chiton,  worn  by  the 
Dorians,  who  were  war- 
like and  interested 
primarily  in  the  phys- 
ical, made  of  heavy 
material  and  fell  in 
few  folds,  had  no 
sleeves,  see  Fig.  134. 

The  Ionic  chiton, 
worn  by  the  lonians,  fig. 


Courtesy  of  Metropolitan  Museum. 

Fig.  132.— Costume  of 

Mycenaean  man. 


Courtesy  of  MetropolUan  Museum. 
133. — Costume  of  Mycenaean  woman. 


Page  One  Hundred  Three 

a  people  fond  of  all  things  beau- 
tiful, made  of  finer  material,  fell 
in  many  and  finer  folds,  had 
sleeves.     See  Fig.  135. 

Girdle  was  worn  at  the  waist 
line  during  the  Archaic  period, 
sixth  century  B.C.  Statues  of 
people  of  this  century  adorn  the 
Acropolis.  This  was  the  elabo- 
rate period  when  cascades  of  ma- 
terial are  found  in  the  statues. 
Girdle  worn  over  the  hip  or 
below  the  waist  in  the  Golden 
Age.  This  was  sometimes  called 
the  Age  of  Pericles,  459-431  B.C. 
The  maidens  of  the  Parthenon 
frieze  are  of  this  time. 

Girdle  worn  under  the  arms 
during  the  last  period. 

Wool,  linen  and  silk  were 
used,  and  the  garments 
were  dyed  purple,  red, 
yellow,  and  other  col- 
ors. Sandals  and  shoes 
were  worn  when  out  of 
doors,  and  the  women 
had  many  different 
kinds  of  jewelry  and 
hair  ornaments. 


Reference  Books 

A  Cretan  Snake  God- 
dess, Century  Mag- 
azine, August.  1916; 
C.H.andH.B.Hawes, 
Crete  the  Forerunner  of 
Greece;  Hope,  Costumes 
of  the  Ancients;  Ra- 
cinet,  Histoire  du  Cos- 
tume; Evans,  Greek 
Dress;  Edith  Abra- 
hams,   Greek  Dress; 


Page  One  Hundred  Four 


OUTLINE  OF  HISTORIC  COSTUME 


Fig. 


Courtesy  of  Metropolitan  Museum. 
134. — Greek  Doric  chiton. 


G.  Baldwin  Brown,  Bur- 
lington Magazine  of  De- 
cember, 1905,  and  Janu- 
ary, 1906,  How  Greek 
Women  Dressed. 


History 

66.  Roman  Costume. 
Rome  founded  753  b.c. 

Rome  was  a  kingdom 
753-509  B.C. 

Rome  was  a  republic 
509-31  B.C. 

Rome  was  an  empire 
31  B.C.-476  A.D.  in  West. 

Dress  (Roman) 

Men  wore  a  tunic;  a 
toga,  or  cloak  corre- 
sponding to  the  Greek 

,  .  ,  1      .         .  •  FromHope. 

mmation ;    but  cut  semi-  Fig.  136.— The  costume  of  a  Roman  man  and  woman. 


Courtesy  of  Metropolitan  Museum. 
Fig.  135.— iGreek  Ionic  chiton  and  himation. 


circular  in  form,  whereas 
the  Greek  himation  was 
rectangular. 

Only  Roman  citizens 
could  wear  the  toga, 
which  was  a  national 
garment,  so  the  pwnula 
was  worn  by  the  work- 
ing class.  This  was 
like  a  cape,  and  some- 
times had  a  hood.  This 
was  worn  by  all  classes, 
both  men  and  women, 
to  travel  in. 

Women  wore  a  tunic 
which  was  like  that  of 
the  Roman  men;  a 
stola  or  dress  corre- 
sponding to  the  Greek 
Ionic  chiton  (differing 
in  that  it  had  a  border 
or  ruffle  at  the  bot- 
tom);   a  palla  or  cloak 


ROMAN   COSTUMES 


Page  One  Hundred  Five 


corresponding  to  the  Grecian 
himation. 

Women  of  the  lower  classes 
could  not  wear  the  stola; 
they  wore  tunic  and  palla,  but 
this  palla  was  made  like  the 
Grecian  Doric  chiton. 

Roman  men  did  not  wear 
hats,  except  the  lower  classes, 
who  wore  tight-fitting  caps. 
See  Fig.  133. 

Roman  women  had  far  more 
jewelry  than  the  Greek.  They 
had  all  the  precious  stones  we 
now  have.  They  dyed,  curled, 
and  arranged  their  hair  elabo- 
rately and  wore  sandals  and 
fancy  boots.  They  took  ex- 
cellent care  of  their  bodies. 

Books  of  Reference 
'RacinetiHistoire  du  Costume; 


Trom  UoUenroth. 
Fig.  138. — Gallic  costume  be- 
fore   coming     under    Koman 
influence,  55  b.c. 


Hope,  Costume  of  the  Ancients; 
Preston  and  Dodge,  Family 
Life  of  Romans;  Planche, 
General  History  of  Costume  in 
Europe. 

History  and  Dress 

67.  The  Gauls.— Csesar 
made  a  complete  conquest  of 
Gaul,  55  B.C.  In  ancient  times 
the  civilized  races  were  un- 
trousered.  (See  Egyptians, 
Greeks,  and  Romans.)  Un- 
civilized races  were  trousered 
(Gauls,  Franks,  etc.). 

(a)  Men. — Wore  trousers  to 
the  ankles,  called  braie;  a 
mantle  of  wool  fastened  in 
front,  called  sai;  a  tunic  to 
mid-leg  with  long  sleeves; 
girdles;  shoes  to  ankles.  See 
Fig.  137. 


From  Hottenroth. 
Fig.  137.— Gallic  costume  before  coming  under  Roman 
influence,  55  b.c. 


From  Hottenroth. 

Fig.  139.— Gallo-Roman  costume  100  a.d. 


Page  One  Hundred  Six 


OUTLINE  OF  HISTORIC  COSTUME 


Later  the  men  shortened  the  trousers 
and  tunic  and  wore  leggins  and  sandals 
with  bands. 

(6)  Women. — Inner  tunic  to  ankles; 
short  outer  tunic  with  short  sleeves; 
girdles;    shoes.     See  Fig.  138. 

The  women  afterwards  shortened  their 
outer  tunic  and  wore  a  mantle  like  a 
Roman  paenula.  See  Fig.  139.  Both  men 
and  women  made  their  hair  red  with  lime 
water. 

About  a  hundred  years  after  the  Roman 
conquest,  the  Gauls  had  become  civilized, 
and  had  adopted  a  dress  somewhat  resem- 
bling the  Roman  costume,  but  the  Roman 
dress  was  also  influenced  by  that  of  the 
Gauls,  as  can  be  seen  by  the  introduction 
of  short  trousers  that  were  worn  under 
the  tunic. 

Reference  Books 
Hottenroth,  Le  Costumes  chez  les  Peuples: 


From  Hottenroti^ 
Fig.   141. — ^Women's  costume  of  the  Franks  about 
■     8th  century,  showing  fichu  and  veil. 


R  a  c  i  n  e  t,  Le  Costu me 
Historique;  Zur  Ge- 
schichte  der  Costume, 
Nach  Zeichnungen  von 
W.  Diez,  C.  Frohlish, 
M.  Heil,  C.  Haberlin, 
A.  Muller,  F.  Rothbart, 
J.  Waller  Muchen. 


From  HotleiiToth. 

Pig.  140. — Men's  costume  of  the  early  Franks  about  Sth  to  8th  century. 


History 

68.  Third    to    Elev- 
enth   Centuries. — 

530 .?  A.D.       King 

Arthur  in  England 
m.  Guinevere. 
871-901  A.D.  King  Al- 
fred the  Great  in 
England  m.  Ethels- 
witha,  d.  of  Ethel- 
ran  of  Mercia. 


THIRD— ELEVENTH  CENTURY 


One  Hundred  Seven 


742-814  A.D.  Charlemagne  m.  1st,  Her- 
mengardg,  m.  2d  Hildegarde,  in.  3d, 
Fastrade,  4th,  Liutgarda. 

276  A.D.  The  Franks  came  down  the 
Rhine,  took  possession  of  Gaul  grad- 
ually, but  made  a  complete  conquest. 
The  fifth  century  to  the  sixteenth 
century  comprises  the  costume  history 
of  the  Middle  Ages. 

Dress  {III  to  XI  Century) 
(a)  Men. — Wore  a  kind  of  tunic  usually 
to  the  knee;    mantle  the  shape  of  a  cape 
which  often  had  a  hood;    girdle;    shoes. 
See  Fig.  140. 

(6)  Women. — Wore,  like  the  women  of 
Gaul,  two  tunics,  also  a  veil  (sometimes 
large  enough  to  take  the  place  of  a  mantle) . 
See  Fig.  141.  The  women  in  England  wore 
a  similar  head  covering,  called  a  wimple. 
The  influence  of  the  Eastern  Roman 
Empire  continued  after  the  arrival  of  the 
Franks,  who  had  become  well  established 


by  the  sixth  century.  By  the  ninth  cen- 
tury gloves  and  handkerchiefs  were  some- 
times used.  The  outer  tunic  of  both  the 
men  and  women  was  now  often  decorated 
with  a  band  called  a  fichu.  This  was 
sometimes  set  with  precious  stones  and 
showed  Byzantine  influence.  See  Fig.  142. 
Reference  Books 
Zur  Geschichte  der  Costume;  Quicherat, 
Histoire  du  Costume  en  France;  Challamel, 
History  of  Costume  in  France  from  Gallo- 
Roman  to  the  Present  Time;  Shaw,  Dresses 
and  Decorations  of  the  Middle  Ages; 
Jacquemin,  Iconographie  du  Costume. 

History 
69.  Eleventh  Century. — 
1066-1087  William  the  Conqueror,  King  of 
England,  m.  Mathilda,  d.  of  Baldwin 
V,  E.  of  Flanders. 
1087-1100  William  H,  King  of  England. 
1031-1060  Henry  I,  King  of  France  m. 
Anna,  d.  of  Jaroslaw  I  of  Russia. 


From  Zur  Geschichte  der'  Costume. 

Fig.  142.— French  costume  of  9th  and  10th  centuries. 


From  Zur  Geschichte  der  Costume^ 

Fig.  143. — King  and  Queen  of  the  11th  century. 


£^age  One  Hundred  Eight 


OUTLINE  OF  HISTORIC  COSTUME 


1060-1108  Philip  I,  King  of  France,  m. 
1st  Bertha,  d.  of  Florence  I,  C,  of 
Holland,  m.  2d  Bertrade,  d.  of  Simon 
I,  C.  of  Montfort. 

Dress  {XI  Century) 

In  the  eleventh  century  the  influence  of 
the  Crusades  began  to  show  in  costume; 
apparently  the  costumes  of  the  Orient 
influenced  costume  and  men  adopted  a 
very  long  and  inconvenient  type  of  dress, 

(a)  Men. — Wore  a  long  under  tunic  down 
to  the  feet  called  a  chemise;  outside  tunic 
long  and  full  called  a  bliaud  (pronounced 
bleo).  This  was  held  in  bj^  a  girdle.  The 
bliaud  had  sleeves  similar  to  those  of  our 
kimona  (the  extra  fullness  in  the  skirt  was 
obtained  by  gores).     See  Fig.  143. 

Trousers  and  stockings  were  worn 
underneath. 

The  long  mantle  now  worn  was  fastened 
often  on  the  left  shoulder;  up  to  this 
time  it  had  been  more  conveniently  fast- 
ened on  the  right  shoulder,  giving  freedom 
to  the  right  arm. 

Men  wore  two  kinds  of  hats,  one  that 
resembled  a  Phrygian  bonnet,  and  a  cap. 
Men  and  women  now  dressed  much  alike. 

Reference  Books 
Hilaire  Billoc,  Book  of  Bayeux  Tapestry, 
Racinet,  Costume  Historique;  Zur  Geschichte 
der  Costume;  Blanche,  Dictionary  and  Cyclo- 
pcrdia;  Jacquemin,  Iconographie  du  Co- 
stume; La  Croix,  Manners,  Customs,  and 
Dress  During  the  Middle  Ages  and  Renais- 
sance, and  Ary  Renan,  Le  Costume  en  France. 


History 
70.  Twelfth  Century.- - 
1100-1135  Henry  I,  King  of  England,  m. 
1st,    Mathilda    of    Scotland,    m.    2d, 
Adelicia  of  Brabant. 
1135-1154  Stephen,  King  of  England,  m. 
Mathilda,  d.  of  Eustace,  E.  of  Boulogne. 


1154-1189  Henry  II,  King  of  England,  m. 

Eleonora  of  Aquitaine. 
1189-1199  Richard  I,.  King  of  England,  m. 

Berengaria,  d.  of  K.  of  Navarra. 

1108-1137  Louis  VI,  King  of  France,  m. 

Adelaide,  d.  of  Humbert  II,  of  Savoy. 

1137-1180  Louis  VII,  King  of  France,  m. 

1st,  Eleanor,  d.   of  Guillaume  X  of 

Aquitaine,   m.   2d,    Constance,   d.   of 

Alphonso  VII  of  Castile,  m.  3d,  Alice, 

d.  of  Theobald  II,  C.  of  Champagne. 

1180-1223  Philip  II,  King  of  France,  m. 

1st,  Isabelle  of  Artois,  m.  2d,  Ingeborg 

of    Denmark,    m.    3d,    Marie,    d.    of 

Berthold  V  of  Meran. 

Dress  {XII  Century) 
In  the  twelfth  century  the  bliaud  for  the 
men  became  fitted  and  hoods  were  worn. 
The  women's  outer  tunic  became  fitted, 
tricot  and  lacing  were  both  introduced. 
This  tunic  had  long  bell-shaped  sleeves. 
The  sleeves  of  the  chemise  were  long  and 
fitted  at  the  wrist.  A  smaller  veil  called 
an  antique  veil,  held  by  a  circlet  or  crown, 
sometimes  embroidered,  now  took  the 
place  of  the  long  veils.  The  shoes  began 
to  show  points.  See  Fig.  143  and  144. 
Reference  Books 
Calthrop,  English  Costume;  Racinet,  Co- 
stume Historique;  Blanche,  General  History 
of  Costume;  La  Croix,  Manners,  Customs, 
and  Dress  During  the  Middle  Ages  and  Re- 
naissance; Quicherat,  Histoire  du  Costume 
en  France;  Viollet-le-Duc,  Dictionnaire  du 
Mobilier  FranQais,Y oh.  3  and  4;  Bonnard, 
Costumes  Historique;  Fairholt,  Costumes  in 
England;  Shaw,  Dresses  and  Decorations  of 
the  Middle  Ages;  Hefner-Alleneck,  Tracht- 
en,  Kunstwerke  und  Gerdthschaften. 

History 
71.  Thirteenth  and  Fourteenth  Centuries. 
1199-1216  John,  King  of  England,  m.  1st 
Alix,  d.  of  Hugo,  C.  of  Mortain,  m. 


THIRTEENTH-FOURTEENTH  CENTURIES      Page  Oue  Hundred  Nine 


r 

L\^j^    ^ 

mff 

111 

i 

i 

IIH  1 

0 

i 

1 

From  Viollet-ie-Duc. 
Fig.  144— Fitted  costume  of   12th 
century. 

2d,  Havoise, 


iiViTm  VtoOetrle-iyuc. 
Pro.  146. — Parti-colored  or 
armorial  dress. 


From  VioUel46-Duc 
Pig.  145. — 2nd  form  of  surcot 
13th  and  14th  centuries. 


d.  of  D.  of  Gloucester, 

m.  3d  Isabel,  d.  of  C.  of  Angouleine. 
1216-1272    Henry    III    m.    Eleanore    of 

Provence. 
1272-1307  Edward  I  m.  1st,  Eleanora  of 

Castile,  2d,  Margaret,  d.  of  Philip  III. 
1307-1327  Edward  II  m.  Isabelle,  d.  of 

Philip  IV,  King  of  France. 
1327-1377  Edward  III  m.  Philippa,  d.  of 

Wilhelm  III,  C.  of  Holland. 
1377-1399   Richard   II   m.    1st,   Anna   of 

Bohemia,  m.  2d,  Isabella  of  France. 
1399-1413    Henry    IV,    Lancaster    (Red 

Rose),   m.   1st,  Mary   Bohun,  m.  2d, 

Jane  of  Navarra. 
1223-1226  Louis  VIIT,  King  of  France,  m. 

Blanche,  d.  of  Alphonso  VIII  of  Castile. 
1226-1270  Louis  IX  (St.  Louis),  King  of 

France,  m.  Marguerite,  d.   of  C.  of 

Provence. 
1270-1285  Philip  III,  King  of  France,  m. 


1st,  Isabelle,  d.  of  King  of  Arragon,  m. 
2d,Maria,d.ofHeinrichIII  of  Brabant. 

1285-1314  Philip  IV,  King  of  France,  m. 
Jeanne,  Queen  of  Navarra. 

1314-1316  Louis  X,  King  of  France,  m.  1st, 
Margaret,  d.  of  Robert  II,  of  Bur- 
gundy', m.  2d,  Clemence  of  Hungaria. 

1316-1322  Philip  V,  King  of  France,  m. 
Jeanne,  d.  of  C.  of  Meran. 

1322-1328  Charles  IV,  King  of  France,  m. 
1st,  Blanch,  d.  of  Otho  IV,  m.  2d, 
Maria  of  Luxemburg,  m.  .'kl,  Jeanne, 
d.  of  Louis,  C.  of  Evreaux. 

1328-1350  Philip  VI  (Valois),  King  of 
France,  m.  1st,  Jeanne,  d.  of  D.  of 
Burgundy,  m.  2d,  Blanche  of  Navarra. 

1350-1364  Jean  II,  King  of  France,  m. 
1st  Bonne  of  Luxemburg,  2d,  Jeanne, 
d.  of  William  XII,  C.  of  Auvergne. 

1364-1380  Charles  V,  King  of  France, 
m.  Jeanne,  d.  of  Duke  of  Bourbon. 


Page  One  Hundred  Ten 

1380-1422  Charles  VI,  King 
of  France,  m.  Isabella  of 
Bavaria  Ingolstadt. 

Dress  (XIII  and  XIV  Centuries) 

In  the  thirteenth  century, 
more  interest  was  shown  in 
dress.  Both  men  and  women 
wore  a  semi-fitted  garment 
called  a  surcot,  hollowed  out 
under  the  arms. 

(a)  Men. — Wore  close  fit- 
ting trousers  (braie) ;  mantle; 
surcot ;  tunic  (chemise) ;  cotte 
(tunic);  stockings;  hats  or 
hoods. 

(6)  Women.  —  Wore  inner 
tunic  or  chemise,  over  this 
a  cotte,  or  fitted  chemise  worn 
with  a  girdle,  over  this  the 
surcot.     The  surcot  had  no 
sleeves,  and  those  of  the    , 
cotte,  usually  of  a  con- 
trasting color,  were  an 
important   feature    of 
this  robe;  by  degrees  the 
arms-eye  became  larger 
and  was  trimmed  with 
fur.     See  Figs.  123  and 
145.     The   skirts   were 
very  long  and  were  held 
up  as  the  woman  walk- 
ed,   showing    the   cotte 
again,    which    was    the 
same    material    as    the 
sleeves,  making  a  pleas- 
ing repeat  of  the  con- 
trasting color.      In  the 
fourteenth  century  the 
parti-colored    or    ar- 
morial dress  was  worn, 
see  Figs.  146  and  118, 


OUTLINE  OF  HISTORIC  COSTUME 


and  the  hennins  or  high  head 
dress  came  in.  Toward  the 
last  of  the  century  the  howp- 
pelande  or  one-piece  dress 
replaced  the  surcot.  See 
Figs.  147,  148  and  108.  In 
this  garment  women  are  said 
to  have  discovered  the  nor- 
mal waistline.  This  had  a 
V-shaped  neck,  widely  off  at 
the  shoulders.  The  women 
were  at  this  time  wearing 
the  wimple  or  head  covering, 
and  about  the  throat  the 
gorget  in  certain  localities. 

The  surcot  of  the  men  grew 
shorter  and  had  large  sleeves. 
Their  stockings   were   close- 
fitting   and    combined    with 
T^omviouei.ie^i>uc.    the  trouscrs.    The  shoes  were 
FiG.147.— 14th  and  15th  century  costume  more  pointed.     They  added 

showing  hennin  and  houppeland.  i  ,        i 

an  houpplande  or  some- 
times long,  sometimes 
short,  outer  garment 
with  large  sleeves.  See 
Figs.  108  and  148. 
Reference  Books 
Books  mentioned  under 
fifteenth  century. 

History 
72.  Fifteenth  Century. 

1413-1422  Henry  V, 
King  of  England, 
m.  Catherine  of 
Valois,d.  of  Charles 
VI  of  France. 

1422-1461  Henry  VI, 
King  of  England,  m. 
Margaret  of  Anjou. 

1461-1483  Edward  IV 
(White  Rose),  m. 
Elizabeth  of  Wood- 
ville. 


;i 


a 


Fig. 


From  Viollet-le-Duc. 
148. — Men  of  the  15th  century. 


SIXTEENTH  CENTURY 


Page  One  Hundred  Eleven 


1483  Edward  V,  King  of  England. 

1483-1485  Richard  III  (White  Rose),  m. 
Anne  Nevill. 

1485-1509  Henry  VII  (Tudor),  m.  Eliza- 
beth of  York. 

1422-1461  Charles 
VII,  King  of 
France,  m. 
Marie,  d.  of 
D.  of  Anjou. 

1461-1483    Louis 

XI,  m.  1st, 
Marguerite, 
d.  of  James  I, 
King  of  Scot- 
land, m.  2d, 
Charlotte  of 
Savoy. 

1483-1498  Charles 

VIII,m.Anne 

of  Brittany. 
1498-1515    Louis 

XII,  m.  1st, 
Jeanne,  d.  of 
Louis  XL  m. 
2d,  Anne, 
widow  of 
CharlesVIII, 

m.  3d,  Mary,  d.  of  Henry  VII,  King 
of  England. 

Dress 

The  fifteenth  century  was  an  exaggera- 
tion of  the  modes  of  the  fourteenth.  More 
extravagant  fabrics  were  used,  and  every- 
thing became  more  extreme,  even  to  the 
points  of  the  hats  and  shoes. 

Towards  the  end  of  this  century  came  a 
transitional  period.  The  toes  of  the  shoes 
became  round,  the  dresses  became  more 
semi-fitting,  and  were  split  up  the  front, 
showing  the  underskirt.  They  had  square 
necks  and  were  worn  with  a  girdle.  The 
close-fitting  cap  was  the  head-dress  now 


used,  and  had  probably  been  introduced 
into  France  by  Anne  de  Bretagne,  Queeii 
of  France.  See  Fig.  150.  The  Fifth  cen- 
tury to  the  Sixteenth  century  comprises 
the  costume  his- 


tory of  the 
die  Ages. 


Mid- 


FlG. 


Reference  Books 
Calthrop,  Eng- 
lish Costume;  Znr 
Geschichte  der  Ko- 
stiime;  Quicherat, 
Histoire  du  Co- 
stume en  France; 
Pauquet  Fr^res, 
Modes  et  Costumes 
Historiques;  Hot- 
tenroth,  Les  Co- 
stumes chez  les 
Peuples;  LaCroix, 
Manners,  Cos- 
tume, and  Dress 
During  the  Middle 
Ages  and  Renais- 
sance ;  Robida, 
Ten  Centuries  in 
Toilette;  Racinet, 
Histoire  du  Co- 
stume ;  Planch^, 
Dictionary  and 
Cyclopedia;  Viol- 
let-le-Duc,  Dictionnaire  du  Mobilier  Fran- 
gais,Yo\s.  3,  4;  Raphael  Jacquemin,  Icono- 
graphie  du  Costume;  Shaw,  Dresses  and  De- 
corations of  the  Middle  Ages;  Piton,  Le 
Costume  Civil  en  France  du  XIIP  au  XIX" 
Siecle;  Strutt,  Sport  and  Pastimes  of  the 
People  of  England;  Strutt,  A  Complete 
View  of  the  Dress  and  Habits  of  the  People 
of  England;'  Bonnard,  Costumes  Historiques 
des  Xir,  Xlir,  XIV\  et  ZP  Siecles; 
Boutet  de  Montvel,  Joan  of  Arc;  Sanborn, 
Ann  of  Brittany. 


From  ZUT  Geschichte  der  Costume. 

149.— German  costume  of  early  iGth  century. 


History 
73.  Sixteenth  Century.    Renaissance. — 
1509-1547  Henry  VIII,  King  of  England 
m.  1st,  Catherine  of  Aragon;    m.  2d^ 


Page  One  Hundred  Twelve  OUTLINE  OF  HISTORIC  COSTUME 


Tram  Pauquet  Freres. 
Fig.  150. — Costume  of  transition  period. 
Anne  of  Brittany,  1500. 


P/K^.. 


From  Pauqiut  Freres. 
lu.  ii/i. — Larlv  Ftenaissance,  1530. 


From  Pauquet  Frires. 

Fig.  151. — Costume  of  16th  century,  1527. 


Frovt,  Pauquet  Freres. 
Fig.  153.— French  gentleman,  1572. 


SIXTEENTH  CENTURY 


Page  One  Hundred  Thirteen 


Anne  Boleyn;  m. 
3d,  Jane  Seymour; 
m.  4th,  Anne  of 
Cleves;  m.  5ths 
Catharine  Howard; 
m.  6th,  Catharine 
Parr. 

1547-1553  Edward  VI. 

1553-1558  Mary  Tudor, 
Queen  of  England, 
m.  Phihp  II,  King 
of  Spain. 

1558-1603  Elizabeth, 
Queen  of  England. 

1515-1547  Francis  I, 
King  of  France,  m. 
1st,  Claude,  d.  of 
Louis  XII;  m.  2d, 
Eleanor,  d.  of 
Philip. 

1547-1559  Henry 
II,  King  of 
France,  m.  1st, 
Catherine  de 
Medicis;  m. 
2d,  morga., 
Diana,  Duchess 
of  Valentinois. 

1559-1560  Francis 
II,  King  of 
France,  m. 
Mary  Stuart, 
Queen  of  Scot- 
land. 

1560-1574  Charles 
IX,  King  of 
France,  m.  1st, 
Elizabeth,  d. 
of  Emp.  ^lax- 
imilian;  m.2d, 
morga.,  Marie 
Touchet. 


Pig. 


From  Pauguet  Freres. 
154. — Late  Renaissance  silhouette,  1586. 


Fig.  155. 


From  Pauquet  Freres. 
-Late  Renaissance  costume,  1572. 


1574-1589  Henry  IH, 
King  of  France,  m. 
Louise  of  Lorraine. 
1589-1610   Henry    IV 
(Bourbon),  King  of 
France,  m.  1st, 
Marguerite   of  Va- 
lois;    m.  2d,  Marie 
de  Medicis. 
Dress  {XVI  Century) 
Great    changes    now 
developed.      The  cos- 
tumes   for    men    and 
women  from  this   time 
on  are  no  longer  alike. 

The  desire  now  seem- 
ed to  be  to  alter  in 
various  ways  the  nor- 
mal shape  of  the  figure. 
The  women  first  wore 
a  boneless  corset, 
which  they  called  a 
basquine, and  a  crin- 
oline  which  gave 
the  appearance  of  a 
hooped  skirt,  which 
they  called  ihevertu- 
gale.  See  Fig.  152. 
The  waistline 
was  normal  and 
slightly  pointed  in 
front.  A  piece  of 
material  was  sewed 
on  the  vertugale  to 
take  the  place  of 
the  cotte.  The 
under-sleeves  were 
made  of  the  same 
material,  and  some- 
times slashed  to 
show  the  chemise; 
sometimes  this 


Page  One  Hundred  Fourteen 


OUTLINE  OF  HISTORIC  COSTUME 


same  material  was  used 
as  a  panel  in  the  front 
of  the  waist.  The  neck 
line  was  square  but 
curved  upward  at  the 
centre.  The  skirt  was 
round  length. 

Large  mantles,  usual- 
ly with  hoods,  were  used 
for  out  of  doors.  The 
shoes  were  no  longer 
pointed.  Red  was  the 
popular  color  for  shoes 
and  stockings.  Jewels 
were  used  in  profusion 
to  elaborate  the  cos- 
tumes; collars  set  with 
gems  were  favored. 

The  men  wore  very 
short,  often  slashed, 
trousers,  long  stockings, 
a    doublet    with    a 
square   neck,    slashed, 
round  -  pointed    shoes, 
and  a  mantle.     See 
Figs.  151  and  153. 

The  first  change 
came  in  the  latter 
part  of  the  century, 
when  many  women 
wore  a  waist  which 
buttoned  to  the  throat. 
The  large  over-sleeves 
were  discarded  for 
smaller  ones  with  a 
padded  roll  at  the 
arm-eye.  The  ruff  now 
became  popular.  More 
width  was  given  to 
the  hfps  by  a  barrel- 
shaped  hoop  which 
made  a  definite  change 


From  PauQuet  FTcrta. 

Fig.  156. — Costume  of  the  late  Renaissance,  158G. 


in  the  silhouette.  The 
waist  became  smaller 
in  size.  Both  round 
length  and  long  skirts 
were  worn.  Trains  were 
worn  on  horseback,  one 
of  which  was  seventy 
feet  long.  The  widely 
open  bodice  became 
popular,  to  which  im- 
mense ruffs  were  added. 
The  balloon-shaped 
sleeves,  too,  had  grown 
enormous.  It  was  at 
this  time  that  ribbon 
came  in.  See  Figs.  154 
and  155. 

Men's  figures  dimin- 
ished in  size  as  women's 
figures  increased.  They 
also   wore    both    corset 

and    ruffs.      See    Fig. 

156. 

Reference  Books 
See  books  mentioned 
under     fifteenth     and 
seventeenth  centuries. 


From  Pauguet  Freres. 
Fig.  157.— Early  17th  Century  costume,  1633. 


History 
74.   Seventeenth 

Century. — 

1603-1625  James  I, 
King  of  England, 
m.  Anne,  d.  of 
Frederick  II,  King 
of  Denmark. 

1625-1649  Charles  I, 
King  of  England, 
m.  Henriette 
Marie,  d.  of  Hen- 
ry IV,  King  of 
France. 


SEVENTEENTH  CENTURY 


Page  One  Hundred  Fifteen 


From  Paugua  Freres. 
Fig.  158. — Co.stume  of  the  early  part  of  Louis  XIV  reign. 


^ifujaEsamm^ 


brum  rauqutl  Frtrt.^. 

Fia.   159. — Costume  of  the  reign  of  Louis 
XIV,  1670. 


'--^  -"A 


From  Pauguet  Freres. 

Fig.  160.— Costume  of  the  later  part  of  Louis  XIV 
reigo    showing   Fontanges    head-dress. 


From  Pauguet  Frires. 
Fig.  161. — Costume  of  the  later  part  of 
Louis  XIV  reign. 


Page  One  Hundred  Sixteen 


OUTLINE  OF  HISTORIC  COSTUME 


1649-1653  Interregnum. 

1653-1658  Oliver  Cromwell,  Protector  of 

England,    m.    Elizabeth,    d.    of    Sir 

Thomas  Bourchier. 
1658-1660  Richard  Cromwell,  Protector  of 

Eng.,  m.  Dorothy  Mayor. 
1660-1685  Charles  II,  King  of  England,  m. 

Catharine  of  Braganza. 
1685-1688  James  II,  King  of  England,  m. 

1st,  Anna  Hyde;    m.  2d,  Mary,  d.  of< 

Alfonso  IV,  D.  of  Modena. 
1689-1702  William  HI  and  Mary,  King 

and  Queen  of  England. 
1610-1643  Louis  XIII,  King  of  France. 

m.  Anna  of  Austria. 
1643-1715   Louis   XIV,   King  of  France, 

m.  Marie  Therese  of  Spain. 
Favorites  Mile,  de  la  Valliere,  Mme.  de 

Montespan,   Mile.   Fontanges,   Mme. 

Maintenon. 

Dress  {XVII  Century) 

The  heaviness  of  the  sixteenth  century 
gave  way  by  degrees  to  the  more  picturesque 
costume  of  the  seventeenth  century. 

(a)  Men. — Men's  trousers  lengthened 
and  they  shortened  the  waistline  and 
added  peplum,  and,  like  the  women,  used 
lace  and  ribbon  profusely.  They  wore 
musketeer  boots.  Their  hats  w^ere  high 
with  a  flat  brim  and  decorated  with  flow- 
ing plumes.  The  hair  w^as  worn  long. 
For  an  outer  garment  the  cape  was  used. 

Men's  costumes  in  the  last  quarter  of 
this  century  changed  greatly.  The  doub- 
let now  turned  into  a  waistcoat  or  vest 
and  a  new  garment  or  outer  coat  was 
added.  Sleeves  had  deep  cuffs.  The  stock 
collar  and  jabot  took  the  place  of  round 
collars.  The  chemise  showed  at  the  wrist, 
and  under  the  jabot.  The  trousers  were 
close-fitting  and  less  decorated.  They  wore 
large  muffs  and  w  igs  and  a  hat  with  turned- 
up  brim  and  flat  plumes.  See  Figs.  157, 
and  161. 

(6)  Women. — Abandoned  the  hoop,  and 


wore  a  round  length  under-petticoat  and 
an  overskirt  whici  was  often  trailing. 
The  fullness  was  at  the  sides  and  back. 
Often  the  skirt  opened  in  front.  When 
this  was  done,  a  narrow  panel  of  the  same 
kind  of  material  as  the  petticoat  was  used 
up  the  front  of  the  bodice.  The  round 
neck  line  was  used  most  at  this  period 
and  the  large,  flat  collar  generally  replaced 
the  ruff.     See  Fig.  157. 

In  some  instances  the  waistline  was 
raised  and  a  short  slashed  peplum  added. 
The  woman  often  wore  a  string  of  pearls 
at  the  neck.  Notice  the  simple  way  their 
hair  was  worn.     See  Figs.  157  and  158. 

In  the  latter  part  of  the  period,  under 
Louis  XIV,  the  skirt  was  looped  up,  the 
waist  became  longer,  heels  grew  higher, 
waists  grew  tighter  and  fans  were  a  neces- 
sity.    See  Fig.  160. 

Two  kinds  of  neck  lines  were  now  pop- 
ular: The  straight  line  decolletee,  close 
to  the  neck,  which  seemed  an  extension 
of  the  panel  front  used  with  short  sleeves; 
and  the  round  neck  line,  which  was  off  the 
shoulders.  A  shorter,  fluffier  sleeve  was 
used  with  the  round  neck  line.  Both  these 
are  forerunners  of  the  eighteenth  century. 

The  Fontanges  headdress  came  in  the 
late  part  of  this  century  and  clothes  be- 
came very  formal  under  the  sway  of  Mme. 
de  Maintenon.  See  Fig.  160.  Large  bro- 
cades that  looked  like  furniture  covering 
were  much  used  in  the  latter  part  of  the 
reign  of  Louis  XIV,  and  the  material  was 
draped  so  that  a  bustle  effect  was  obtained. 
The  women  carried  small,  round  muffs. 

Reference  Books 

Calthrop,  English  Costume;  Pauquet 
Freres,  Modes  et  Costumes  Historiques; 
Robida,  Ten  Centuries  of  Toilette;  Pierre 
Lamesangere,  Costumes  des  Femmes  Fran- 
daises;  Zur  Geschichte  der  Costume. 


EIGHTEENTH  CENTURY 


Page  One  Hundred  Seventeen 


History 

75.  Eighteenth  Century. — 

1702-1714  Anne,  Queen  of  England, 
m.  George  D.  Cumberland. 

1714-1727  George  I,  King  of  Eng- 
land, m.  Sophia  Dorothea,  his 
cousin. 

1727-1760  George  H,  King  of  Eng- 
land, m.  Carolina  of  Branden- 
burg-Ansbach. 

1760-1820  George  HI,  King  of  Eng- 
land, m.  Charlotte  of  Mecklen- 
burg-Strelitz. 

1715-1774  Louis  XV,  King  of  France, 
m.  Maria  Leczinska. 
Favorites    Marchioness    de    Pom- 
padour, Countess  du  Barry. 

1774-1792  Louis  XVI,  King  of  France, 
m.  Marie  Antoinette,  d.  of  Franz 
I.  Stephen,  Germ.  Emp. 


Fig.  163.- 


From  Pamuet  Frires. 
-Louis  XV  Watteau  costume  showing  18th  century  hoop,  1729. 


From  Pauquet  Frires. 
Fig.  162. — Draped  costume  of  the  late  18th  century,  1763. 

Dress  {XVIII  Century) 
Early  in  the  eighteenth  century 
the  hoop  was  revived  (1711). 
This  time  it  was  a  framework  of 
cane,  whalebone,  or  some  similar 
material,  and  was  called  a  panier. 
It  was  wide  at  the  sides  and  flat 
in  the  back  and  front,  but  the 
fullness  of  the  skirt  gave  the  re- 
quired size  at  the  back.  During 
the  regency,  plain,  full  skirts  of 
light  weight  material  were  in 
vogue;  afterward,  heavier*  fabrics 
and  more  decoration  appeared. 
The  tj'pe  was  more  frivolous 
than  that  used  during  the  latter 
part  of  the  reign  of  Louis  XIV. 
When  the  bodice  had  a  round 
neck,  the  sleeves  were  usually 
made  of  ruffles  of  lace;  with  the 
square    neck,  the   sleeves   were 


Page  One  Hundred  Eighteen 


OUTLINE  OF  HISTORIC  COSTUME 


'^^■■■■■■■B 

^?SES?^ 

VH^B 

^ 

Jf 

/    t 

^ 

^ 

fc/V 

^Hfl^^^> 

1  fl^S^Ck^  ^ 

■  ^^^^^^RE^I^^^^H 

bfiifeiiL^Si^' 

^B^^H 

^ 

HP'' 

^^^ 

^S 

HL    - 

^^BKm^jkjttMiiSr^^ 

^^^^^^^^L 

^P^^^^ 

l^jP^ 

ll^^^L 

';:.,<«5|^g 

^■^SSBftafc 

^IPB* 

From  Pauquet  Frires. 

Fig.  164. — The  costume  of  a  man  in  1740. 


usually  close-fitting 
with  decoration  at 
the  elbow.  See  Fig. 
166.  Much  lace, 
ribbon  and  artificial 
flowers  were  used. 
Mantles  were  cape- 
shaped  with  hoods. 
In  the  second 
quarter  of  the  cen- 
tury the  one-piece 
dress  with  a  Watteau 
plait  came  in;  this 
was  then  worn  con- 
tempo  raucously 
with  the  others, 
and  made  in  differ- 
ent ways.  See  Fig. 
1 63 .  Sometimes  the 
waistline  was  not 
defined     and      the 


Painting  by  Nattier. 

Fig.  166. — 18th  century  round  neck  line  and  ruffle  lace 
sleeves. 


From  Pauquet  Frires. 
Fig.  165.— Louis  XVI  costume,  1777. 


pleats  were  allowe<i 
to  fall  straif^-t  from 
the  shouldei  to  the 
floor;  at  other  l1x._ 
the  skirt  was  draped 
at  the  back  and  sides, 
showing  the  under- 
skirt. The  dresses 
were  often  worn 
short,  as  much  at- 
tention was  given  to 
shoes  and  stockings. 
The  costume  of 
the  men  of  this  pe- 
riod was  strongly 
influenced  by  the 
paniers  used  by  the 
women  and  the 
skirts  of  the  coats 
were  stiffened  and 
boned.     The  shoes 


EIGHTEENTH  CENTURY 


Page  One  Hundred  Nineteen 


From  ZvT  GescMchte  cler  Costume. 
Fig.  167— Louis  XVI  costume.  1780. 


Fro?n  Pauquet  Freres. 
Fig.  1G9.— Directoire  costume,  1798. 


m^ 


From  ZuT  Oeschicfite  der  Costume.  From  Patiquet  Frires. 

Fig.  168. — British  or  masculine  costume.  Fig.  170. — The  costumes  of  1795  of  the  "  Incroyables  " 

(men)  and  "  Merveilleuses "  and  "Impossibles"  (women). 


Page  One  Hundred  Twenty 


OUTLINE  OF  HISTORIC  COSTUME 


had  red  heels,  and  a 
tricornered  hat  was 
worn.     See  Fig.  164. 

The  costumes  of  the 
reign  of  Louis  XVI 
from  1774  to  1792  were 
exaggerations  of  the 
costumes  of  the  reign 
before.  The  bodices 
were  extremely  tight 
and  stiffly  boned,  the 
skirts  were  elaborately 
trimmed,  and  immense 
headdresses  were 
worn.  See  Fig.  165. 
Farming  at  the  Petit 
Trianon  brought  in 
the  dainty  overdress 
adapted  from  the 
Watteau  style,  and  the 


Fig.  171.— Fashions  of  the  Consulate,  1799-1803. 


shepherdess  crook.  See 
Fig.  167.  The  next 
change  was  that 
brought  in  by  the  ap- 
proaching French  Rev- 
olution. This  was  a 
more  masculine  cos- 
tume and  was  called 
British  or  English.  See 
Fig.  168. 

The  days  of  the  Rev- 
olution (1789  -  1799) 
brought  in  simple 
fashions.  Corsets  were 
discarded,  the  waist 
became  short  and  the 
skirt  clinging,  and 
cheap  materials  were 
used.  During  the  Di- 
rectoire,    the    women 


Fig.  172.— Costume  of  the  First  Empire, 
1811. 


Fig.  173. — Costume  of  the  First  Empire, 
1813. 


NINETEENTH  CENTURY 


Page  One  Hundred  Twenty-one 


adapted  the  classic 
style,  borrowing  from 
both  Greek  and  Ro- 
man fashions.  These 
costumes  were  scanty, 
and  frequently  were 
split  up  the  sides. 
The  dresses  were 
often  transparent  and 
worn  without  chem- 
ises. See  Fig.  169. 
The  gentlemen  of  this 
fantastic  period  were 
styled  "Incroyables," 
"Unimaginables  "; 
the  ladies,  "Merveil- 
leuses"  and  "Impos- 
sibles." See  Fig.  170. 
The  men  wore  an 
exaggerated  copy  of 
what  had  been  previ- 
ously  called  the 
English  fashion. 

Reference  Books 
See  books  mentioned 
under  seventeenth  and 
nineteenth  centuries. 


History 
76.  Nineteenth 

Century. — 

1820-1830  George  IV, 
King  of  England, 
m.  1st,  morga., 
Mrs.  Fitzherbert; 
m.  2d,  Caroline 
of  Brunswick- 
Wolfenbiittel. 

1830-1837  William 
IV,  King  of  Eng- 
land, m.  Adelaide  of 
Saxe-Meiningen. 


Fig. 


From  Pamuet  Fr^ea. 
174. — Costumes  of  the  Restoration,  1820. 


Pig.  175. — Costumes  of  the  Romantic  Period  during 
reign  of  Louis  PhUippe,  1830-1848. 


1837-1901  Victoria 
Alexandra,    m. 
Albert,  Prince  of 
Saxe-Koburg  and 
Gotha. 
1792-1795  Conven- 
tion. 
1795-1799  Directory. 
1799-1804  Consulate. 
1804-1814  Emperor 
Napoleon  Bona- 
parte, m.    1st, 
Josephine    Ta- 
scher,  2d,  Marie 
Louise,  d.  of 
Franz  I. German- 
Roman  Emperor. 
1814-1824    Louis 
XVIII,  King  of 
France,  m.  Maria 
of  Sardinia. 
1824-1830  Charles  X, 
King   of    France, 
m.  Maria  Theresa 
of  Sardinia. 
1830-1848    Louis-Phi- 
lippe   of   Orleans, 
King  of  France,  m. 
Marie   Amalie   of 
the  Two  Sicilies. 
1848-1870  Louis  Na- 
poleon III,  m. 
Eugenie  de  Guz- 
man,    Countess 
of  Teba. 
Dress  {XIX  Century) 
It  is  said  that  the 
fashions   of  the   Con- 
sulate, 1799-1804, 
which  were  much  more 
restrained,  kept  all 
that  was  best  in  the 


Page  One  Hundred  Twenty-two  OUTLINE  OF  HISTORIC  COSTUME 


fashions  of  the 
Directory.  See 
Fig.  171.  A  beau- 
tiful quality  of 
Indian  lawns  and 
muslins  was  used, 
and  the  shawl 
introduced  by 
Napoleon  became 
popular. 

During  the  Em- 
pire (1804-1814) 
materials  became 
more  elaborate. 
Things  were  mil- 
itary. Oriental 
silks  and  heavier 
materials  were 
used,  and  the 
tendency  was  to 
be  well  covered. 
See  Figs.  17£  and 
173. 

The  Restoration, 
1814-1830  (reign 
of  Louis  XVIII), 
found  the  silhou- 
ette changing. 
See  Fig.  174. 
Corsets  had  again 
come  in  and 
caused  the  waist- 
line  to  drop 
slightly.  The  skirts 
had  more  fullness, 
were  elaborately 
trimmed  and  were 
worn  quite  short. 
(Charles  X,  1824- 
1830.)  In  the 
twenties  the  waist 
found  its  normal 


Fig    176. — Costumes  of  the  Second  Empire,  IS.jL 


Fig.  177. — Gjstumes  of  the  Second  Empire,  1852. 


waistline,  the 
sleeves  became 
large  and  gave 
width  to  the 
shoulders.  Much 
interest  was  now 
being  taken  in 
bonnets. 

The  reign  of 
Louis-Philippe, 
1830-1848,  was 
called  the  Ro- 
mantic Period. 
See  Fig.  175.  The 
waists  were  close- 
fitting  with  a 
very  low  neck,  and 
were  wide  off  at 
the  shoulders. 
The  popular  ber- 
tha effect  increas- 
ed this  still  more. 
The  waistline  was 
pointed  in  front, 
the  skirt  full  but 
with  less  trim- 
mings, and  floun- 
ces were  some- 
times used.  Shoes 
were  low  and  had 
no  heels.  TheRe- 
[)ublic  under  Louis 
Napoleon,  1848- 
1852,  found  the 
i-kirts  increasing 
in  size,  and  by  the 
Second  Empire 
under  Napoleon 
III,  1852-1870, 
the  skirts  were 
held  out  by  stiff 
petticoats    which 


NINETEENTH  CENTURY 


Page  One  Hundred  Twenty-three 


led  up  to  the  return  of  the  crinoHnes  and 
hoops  of  1854.  See  Figs.  176  and  177.  The 
long  shoulder  line  persisted  and  sleeves 
were  bell-shaped  and  full  at  the  wrist. 
Jackets,  shawls,  and  capes  similar  to  those 
worn  in  the  First  Empire  were  used.  By 
1870  the  bustle  had  supplanted  the  hoops, 
and  from  that  time  to  the  present  rapid 
changes  have  taken  place. 

Reference  Books 

Modes  et  Costumes  Historiques,  par  Pau- 
quet  Freres,  two  volumes;  Portraits  en 
Pied,   Dessines    par   Sante   Graves.     Zur 


Geschichte  der  Costume;  Iconographie  du 
Costume,  by  Raphael  Jacquemin;  English 
Costume,  by  Calthrop;  Fashions  in  Paris, 
1797-1897,  by  Octave  Uzanne;  Modes  et 
Usages  au  temps  de  Marie  Antoinette, 
Livre;  Journal  de  Madame  Eloffe,  Le 
Comte  de  Reiset;  Marchande  de  Modes; 
Dame  Fashion,  1786-1912,  by  Julius  M. 
Price;  Galerie  des  31  odes  et  Costumes  Fran- 
gais,  1778-1787,  par  M.  Paul  Cornu; 
Die  Mode;  Modes  and  Manners  of  Nine- 
teenth Century,  by  Dr.  Oskar  Fischel  and 
Max  von  Boehn,  translated  into  English 
by  M.  Edwardes  in  three  volumes,  1790- 
1878  and  Godey's  Lady's  Book,  1830-1890. 


Drawn  by  Robert  Henry  for  Felix  Jungmann  &  Cie.,  Paris, 


From  a  crayon  drawing  by  Soulie, 


Courtesy  of  Harper  s  Bazar. 


BIBLIOGRAPHY 


BIBLIOGRAPHY 


Racinet.  Histoire  du  Costume.  6  vols.  Illustrated. 
French  text. 

Dress  of  the  Ancient  Egyptians.  Published  by  the 
Metropolitan  Museum  of  Art.     Illustrated. 

Ancient  Egyptian  Kerchief.  Metropolitan  Museum 
Bulletin,  Vol.  XI,  No.  11.     Illustrated. 

Prisse  D\ivennes.  Histoire  de  L'art  Egypt.  Illus- 
trated.    French  Text. 

Book  of  the  Dead.  Facsimile  of  Papyrus  of  Ani 
in  British  Museum.     Illustrated.     English  text. 

Breasted.  Ancient  Times.  Illustrated.  English  text. 

Abrahams.   Greek  Dress.    Illustrated.    English  text. 

Evans.     Greek    Dress.     Illustrated.     English   text. 

Hope.  Costume  of  the  Ancients.  2  vols.  Illus- 
trated.    English  text. 

Notor.  La,  Femme  dans  L'Antiquit6  Grecque. 
French  text. 

Van  Rensselaer,  Mrs.  Schuyler.  A  Cretan  Snake 
Goddess.  Century  Magazine.  August,  1916. 
Illustrated.     English  text. 

Brown,  G.  Baldwin.  How  Greek  AYomen  Dressed. 
Burlington  Magazine,  December,  1905,  and  Jan- 
uary, 1906.     Illustrated.     English  text. 

r'inche.  Dictionary  and  Cyclopaedia.  2  vols. 
Illustrated.     English  text. 

Jacquemin.  Iconographie  du  Costume.  Illustrated. 
French  text. 

Quicherat.  Histoire  du  Costume  en  France.  Illus- 
trated.    French  text. 

Hottenroth.  LeCostumechez  lesPeuples.  Ancienset 
Moderns.    Illustrated.    German  and  French  text. 

Rosenberg.  Geschichte  der  Kostiime.  3  vols.  Il- 
lustrated.    German  text. 

Hefner- Alteneck.  Trachten,  Kunstwerke,  und  Ge- 
rathschaften.    10  vols.    Illustrated.    German  text. 

Hefner- Alteneck.  Costume  du  Moyen  Age  Chretien. 
4  vols.     French  text. 

Boutet  de  Monvel.  Joan  of  Arc.  For  XV  Century 
Costume.     Illustrated.  French  and  English  text. 

Braun,  Diez,  Froehlich,  etc.  Zur  Geschichte  der  Ko- 
stiime.  Illustrated.    German  text.    English  index. 

Viollet-le-Duc.  Dictionnaire  du  Mobilier  FranQais. 
Vols.  3  and  4.     Illustrated.     French  text. 

Shaw.     Dresses  and  Decorations  of  the  Middle  Ages. 

2  vols.     Illustrated.     English  text. 

Bonnard.  (Middle  Ages)  Costumes  historiques  des 
Xir,  Xlir,  XIV",  et  XV"  Siecles.    2  vols.  (1845). 

3  vols.  (1861).     Illustrated.     French  text. 
Piton.     I>es  Costume  Civil  en  France  de  XIlP  au 

XIV^  Siecle.     Illustrated.     French  text. 


Herbe.  Costume  Frangais.   Illustrated.  French  text. 

Renan,  Ary.  Le  Costume  en  France.  Illustrated. 
French  text. 

Robida,  A.  Ten  Centuries  of  Toilette.  Illustrated. 
French  and  English  text. 

Challamel.  The  History  of  Costume  in  France  from 
Gallo-Roman  to  present  time.  Illustrated.  Eng- 
lish text. 

Billoc.  Bayeaux  Tapestry.  Illustrated.  English  text. 

La  Croix.  Manners,  Customs  and  Dress  during  the 
Middle  Ages  and  Renaissance.  Illustrated.  Eng- 
lish text. 

Calthrop.  English  Costume.  Early  English,  Middle 
Ages,  Tudor  and  Stuart,  and  Georgian.  Published 
in  1  vol.  and  in  4  vols.     Illustrated.     English  text. 

Strutt,  J.  Sport  and  Pastimes  of  People  of  England. 
Illustrated.     English  text. 

Strutt,  J.  A  Complete  View  of  the  Dress  and  Habits 
of  the  People  of  England.  2  vols.  Illustrated. 
English  text. 

Pauquet  Freres.  Modes  et  Costumes  Historiques. 
2  vols.     Illustrated.     French  and  English  text. 

Hughes.  Dress  Design,  an  account  of  Costumes  for 
artists  and  dressmakers.  1  vol.  Illustrated. 
English  text. 

Hughes.  Old  English  Costume.  Illustrated.  Eng- 
lish text. 

Fairholt.  Costumes  in  England.  2  vols.  Illus- 
trated.    English  text. 

Smith,  J.  T.  The  Cries  of  London.  (Character 
Costume.)     Illustrated,  English  text. 

Aria.  Costume.  Fanciful,  historical  and  theatrical. 
Illustrated.     English  text. 

Le  Comte  de  Reiset.  Modes  et  Usages  au  temps  de 
Marie  Antionette.  Livre-Journal  de  Madame 
Eloffe.  Marchande  '  de  Modes.  Illustrated. 
2  vols.     French  text. 

Grand-Carteret.  I>es  Elegances  de  la  Toilette. 
Louis  XVI-Restauration,  1780-1825.  Illustrated. 
French  text. 

Wahlen.  Moeurs,  Usages  et  Costumes  de  tons  les 
Peuples  du  Monde.     Illustrated.     French  text. 

Lamesangere.  Costume  des  Femmes  Frangaises. 
Illustrated.     French  text. 

Sante  Graves.  Portraits  en  Pied.  Illustrated. 
French  text. 

Uzanne,  Octave.  Fashions  in  Paris,  1797-1897. 
French  and  English  text.     Illustrated. 

Price.  Dame  Fashion,  1786-1912.  English  text. 
Illustrated. 


Page  One  Hundred  Twenty -eight 


BIBLIOGRAPHY 


Cornu,  M.  Paul.  Galerie  des  Modes  et  Costumes 
Frangaises,  1778-1787.    Illustrated.    French  text. 

Fishel  arid  Von  Boehn  translated  by  M.  Edwardes. 
Modes  and  Manners  of  the  Nineteenth  Century, 
1790-1878.  3  vols.  Illustrated.  German  and 
English  text. 

Rhead.     Chats  on  Costume.  Illustrated.  English  text. 

Earle.  Two  Centuries  of  Costume  in  America. 
Illustrated.  Published  in  1  vol.  and  2  vols. 
English  text. 

McClellan.  Historic  Dress  in  America.  Illustrated. 
Vol.  1,  1607-1800;  Vol.  2, 1800-1870.  English  text. 

Webb.  The  heritage  of  Dress.  Notes  on  the  history 
and  evolution  of  clothes.  Illustrated.  English 
text. 

Bakst,  Leon.     L'art  decoratif.     French  text. 

Fales.  Dressmaking.  Chapter  I  on  The  Historic  De- 
velopment of  Costume.   Illustrated.    English  text. 

Ellsworth  Textiles  and  Costume  Design. 

Peterson's  Magazine,  1842-1898.     English  text. 

Godeys  Lady's  Book.     1830-1898.     English  text. 

Gazette  du  Bon  Ton.  Arts,  Modes  and  Frivolities. 
French  text. 

Journal  des  Dames  et  des  Modes.     Frencfrtext. 

Burbank.     Woman  as  Decoration.     English  text. 

Lessing,  Julius  von.  Die  Gewebe  Sammlung  des 
Kunstgewerbe  Museum.     German  text. 

Funke,  Otto  von.  Seidenweberei.    2  vols.  German  text. 

Moore,  N.  Hudson.  The  Lace  Book.  Showing- 
Specimens  of  Lace,  or  its  wear  in  famous  por- 
traits.    English  text. 

Palliser,  Mrs.  Bury.  A  History  of  Lace.  English 
text. 

Ricci,  Elisa.     Antiche  Trine  Italiane.     Italian  text. 

Pollen,  Mrs.  J.  Hungerford.  Seven  Centuries  of 
Lace.     English  text. 


Jourdain,  M.     Old  Lace.     English  text. 

Lowes,  Mrs.  Chats  on  Old  Lace  and  Needlework. 
English  text. 

Laprade,  Mme,  Laurence  de.'  Le  Poinet  de  France. 
French  text. 

Jackson,  Mrs.  F.  Nevill.  A  History  of  Hand-made 
Lace.    English  text. 

Lefebure,  Ernest.     Embroidery  and  Lace.     English 

text. 
Whiting,  Gertrude.     A  Lace  Guide.     English  text. 

■Clifford,  C.  R.     The  Lace  Dictionary.    English  text. 

Huish,  Marcus  B.  Samplers  and  Tapestry  Em- 
broideries.    English  Text. 

Modes  et  Maniers  D'Aujourd'Hui.  Illustrated  by 
Lepape,  1912,  Martin,  1913,  and  Barbier,  1914. 
French  text. 

Nevill,  Ralph.  British  Military  Prints.  Illustrated. 
English  text. 

Falls,  D.  W.  C.  Army  and  Navy  Information  of  the 
Warring  Powers.     English  text. 

Wietz.  Ecclesiastical  Costume.  2  vols.  German 
text. 

Villermont,  Comtesse  de.  Histoire  de  la  Coiffure 
Feminine.     Illustrated.     French  text. 

Davey,  Richard.  A  History  of  Mourning.  Illus- 
trated.    English  text. 

Rhead,  G.  W.  History  of  the  Fan.  Illustrated. 
English  text. 

Redfern,  W.  B.  Royal  and  Historic  Gloves  and 
Shoes.  .  Illustrated.     English  text. 

For  Periodical  References  see  Poole's  Index  and 
th;  Readers'  Guide. 

New  York  Public  Library.  Art  Division.  In  prep- 
aration, Textile  list  and  Costume  list.  Each  not 
only  lists  books  and  articles,  but  parts  of  books 
and  individual  plates. 


ip 


Drawn  by  Robert  Henry  for  Felix  Jungmann  &  Cie.,  Paris. 


^p 


A  READING  AND 
REFERENCE  LIST 
ON    COSTUME 


BROOKLYN  NEW  YORK 

Published  BY  THE  BROOKLYN  PUBLIC  LIBRARY 
FIRST  PRINTING  1909  REVISED  1920 


PREFACE 

The  primary  purpose  of  this  list  is  to  furnish  a  partial  guide  to  the  resources 
of  the  Brooklyn  Public  Library  on  the  subject  of  costume.  Completeness 
has  not  been  attempted.  Practically  no  references  to  periodicals  are 
included,  as  these  are  generally  available  through  Poole's  Index  and  the 
Readers'  Guide.  Post-cards,  works  of  art,  jewelry,  and  other  articles 
primarily  artistic  in  nature  are  not  included.  A  few  unindexed  periodicals, 
especially  useful  in  the  study  of  costume,  are  listed. 

It  is  hoped  that  the  list,  in  addition  to  its  use  to  the  patrons  of  the 
library,  may  serve  as  a  contribution  toward  a  bibliography  of  the  subject. 


CONTENTS 


PAQB 

Abyssinia 143 

Afghanistan Hi 

Africa lU 

Albania.     See  Balkan  States. 

Algeria 144 

Arab  Costume 145 

Armenia.     See  Turkish  Empire. 

Armor 145 

Asiatic    Islands.     See   Malaysia,    Philippine 

Islands. 

Assyria 146 

Australia 146 

Austria-Hungary 146 

Aztec     Costume.     See    Indians    of    North 

America. 

Balkan  States 147 

Bedouin  Costume.     See  Arab  Costume,  Egypt, 
Turkish  Empire. 

Belgium 148 

Bibliography 137 

Bohemia.     See  Austria-Hungary. 
Bosnia.     See  Balkan  States. 

Bridal  Costume 148 

Brittany.     See  France. 

Brooklyn 148 

Bulgaria.     See  Balkan  States. 
Burma.     See  India. 

Canada 148 

Caricatures  and  Caricaturists 148 

Carthage.     See  Africa. 

Central  America 149 

Central  Asia 149 

Ceylon 150 

Children 150 

Chile 150 

China 150 

Colonial  Costimie.     See  United  States. 


FAGB 

Corea.     See  Koreia. 
Corsica.     See  France. 

Costume  (in  Poetry) 151 

Cuba 151 

Denmark 151 

Dutch  Costume.     See  Nethi;rlands. 

Egypt 152 

England 152 

England.     Military  Costume 156 

Eskimo  Costume 157 

Etruscan  Costume 158 

Fancy  Dress 158 

Fans 158 

Fiji  Islands 158 

Flemish  Costume.     See  Belgium. 

Foot-wear 158 

France 159 

France.     Military  Costume 160 

General  Works 138 

Germany 161 

Germany.     Military  Costume 161 

Gipsy  Costume 161 

Gloves ,  162 

Greece 162 

Guatemala 163 

Hair,  Hats.     See  Head-dress. 

Hawaii 163 

Head-dress 163 

Hebrew  Costume.     See  Jewish  Costume. 
Herzegovina.     See  Balkan  States. 
Holland.     See  Netherlands. 
Hungary.     See  Austria-Hungary. 

India 164 

Indians  of  North  America 165 


Page  One  Hundred  Thirty -four 

PAGE 

Indians  of  South  America 166 

Ireland 167 

Italy 167 

Japan 168 

Jewelry 168 

Jewish  Costume 169 

Korea 169 

Lapland.     See  Norway,  Russian  Empire. 

Macedonia.     See  Balkan  States. 

Malaysia 169 

Maori  Costume.     See  New  Zealand. 
Marriage  Costume.     See  Bridal  Costume. 

Mediaeval  Costume 169 

Mexico 170 

Montenegro.     See  Balk.\n  States. 

Morocco 170 

Nepal.     See  Tibet. 

Netherlands 170 

New  Zealand 171 

Normandy.     See  France. 

Norway 171 

Oceanica 171 

Orders 171 

Palestine.     See  Turkish  Empire. 

Peasant  Costume 171 

Periodicals  Useful  for  the  Study  of  Costume ...  138 

Persia 171 

Peru 172 

Philippine  Islands 172 

Poland.     See  Russia. 

Porto  Rico 172 


CONTENTS 

PAGE 

Portugal 172 

Quakers 172 

Religious  Costume 173 

Rome 173 

Roumania.     See  Balkan  States. 

Russian  Empire 174 

Samoa 175 

Savoy .' 175 

Scotland 175 

Servia.     See  Balkan  States. 

Shakespearean  Costume 176 

Shoes.     See  Foot-weAjI. 
Siam.     See  India. 

South  America - 177 

Spain 177 

Sweden 177 

Switzerland 178 

Theatrical  Costume 178 

Tibet 179 

Troubadours 179 

Tunis.     See  Africa. 

Turkish  Empire 179 

Tyrol.     See  Austria-Hungary,  Switzerland. 

United  States 180 

United  States.     Military  and  Naval  Costume.    181 

Venice.     See  Italy. 

Wales 182 

Weapons.     See  Armor. 

West  Indies 182 

Zanzibar 182 


A  READING   AND   REFERENCE   LIST   ON   COSTUME, 
ARRANGED  ALPHABETICALLY 


THIS  OUTLINE  OF  HISTORIC  COSTUME  IS  ARRANGED  TO  PROVIDE  THE 
READER  WITH  COMPARATIVE  DATES,  UNDER  THE  HEADING  OF  "HISTORY," 
THE  MAIN  CHARACTERISTICS  OF  EACH  CENTURY'S  COSTUME,  UNDER 
THE  HEADING  "HISTORY  OF  DRESS,"  AND  WITH  THE  AIM  OF  FURTHER 
ELUCIDATION  ON  EACH  PERIOD'S  COSTUME,  THERE  WILL  BE  FOUND  SELECTED 
DATA  UNDER    THE    HEADING    OF    THAT   CENTURY'S    "REFERENCE    BOOKS." 


Bibliography 


Barnard,  F.  P.  Books  for  Reference  on  English 
Costume.  (la  his  Companion  to  Enghsh  History : 
Middle  Ages.     190'2.     p.  115.)  Ref.  942B25 

Bibliography  of  Costume.  (In  Encyclopedia  Ameri- 
cana.    1903-04.     V.  5.)  Ref.  031E56 

See  article  on  "  Costume."     16  titles. 

Bibliography  of  Costume.  (In  New  International 
Encyclopaedia.     1902-04.     v.  5.     pp.  333-34.) 

Ref.  031l6lGi 

Annotated  list  of  about  30  titles. 

Bibliography  of  Costume.  (In  New  International 
Encyclopaedia.     1914.     v.  6.     p.  143.) 

Bibliography  of  Ecclesiastical  Costume.  (In  New 
Internationa!  Encycit^eedia.  1902-04.  v.  5. 
p.  338.)  Ref.  031l6lGi 

11  titles. 

Bibliography  of  Ecclesiastical  Costume.  (In  New 
International  Encyclopaedia.  1914.  v.  6.  p. 
148.) 

Bibliography  of  Jewish  Costume.  (In  Jewish  Ency- 
clopaedia.    1901-06.     V.  4.     pp.  294,  301,  303.) 

Ref.  933S61 

Brief  lists. 

Bibliography  of  Roman  Comedy  Costume.  (In 
Saunders,  C.  Costume  in  Roman  Comedy. 
1909.     pp.  143-145.)  391S25 

Bliimner,  II.  Costume.  (In  his  Home  Life  of  the 
Ancient  Greeks.     1893.     p.  533.)  913B65 

4  titles. 

Boutell,  Charles.  Bibliography  of  Costume.  (In 
Encyclopaedia  Britannica.  9th  ed.  1875-88.  v. 
6.     pp.  478-79.)  Ref.  032E56 

Classified  and  annotated  list. 

Chubb,  Percival,  and  others.  Festivals  and  Plays  in 
Schools  and  Elsewhere.     1912.  371.7C55 

Costume  bibliography,  p.  391. 


Dillon,  H.  A.  Books  Treating  of  Costume.  (In 
Fairholt,  F.  W.  Costume  in  England.  3d  ed. 
1885.     V.  1.     pp.  xi-xiv.     Also  4th  ed.  1896.) 

391F17 

Evans,  M.  M.,  Lady.     List  of  Books  on  Greek  Dress. 

(In  her  Chapters  on  Greek  Dress.     1893.     pp. 

vi-xvii.)  391E92 

Fletcher,  A.  C.  Bibliography  of  Indian  Adornment. 
(In  Hodge,  F.  W.  Hand-book  of  American  Indians. 
1907.  pt.  1.  p.  20.— U.  S.  Bureau  of  Ethnology. 
Bulletin  30.)  Ref.  970.1U58 

18  titles. 

Gipsy  Costume.  (In  Journal  of  the  Gipsy  Lore 
Society.     New  ser.     v.  1.    p.  25.    July,  1907.) 

Ref. 

Brief  annotated  list. 

Hough,  Walter.  Bibliography  of  Indian  Clothing. 
(In  Hodge,  F.  W.  Hand-book  of  American  Indians. 
1907.  pt.  1.  p.  313.— U.  S.  Bureau  of  Ethnology. 
Bulletin  30.)  Ref.  970.1U58 

11  titles. 

Lipperheide,  F.  J.,  Freiherr  von.  Katalog  der 
Freiherrlich  von  Lipperheide 'schen  Kostiim- 
bibliothek.     2  v.     1896-1901.  Ref.  G016L76 

Annotated  and  illustrated.     The  most  complete  bibliog- 
raphy. 

Litteratur.  Kostum.  (In  Brockhaus'  Konversations- 
Lexicon.     14th  ed.     1895.     v.  10.     p.  662.) 

Ref.  G033B86 

14  titles. 

Luard,  J.  History  of  the  Dress  of  the  British 
Soldier.     1852.  355L92 

Brief  list  of  authorities,  pp.  III-IV. 

McClellan,  Elizabeth.  Authorities  Consulted.  (In 
her  Historic  Dress  in  America,  1607-1800.  1904. 
pp.  405-07.)  Ref.  391M12 


Page  One  Hundred  Thirty-eight 


BIBLIOGRAPHY 


New  York  City.  Salmagundi  Club.  Catalogue  of 
the  Costume  Books  in  the  Library  of  the  Salma- 
gundi Club.    N.  Y.     1906,  R016No67S 

Peahody  Institute,  Baltimore.  Catalogue  of  the 
Library. 

Costume.  Part  I,  18S3,  pp.  S07-8;  2d  series,  part  II,  1897, 
p.  907;  Ecclesiastical  Costume,  part  I,  1883,  p.  808;  United 
States  Costume,  2d  series,  part  Vfll,  1905,  p.  4875. 

List  of  books  and  periodical  articles. 

Phillip,  W.  A.  Bibliography  of  Costume.  (In 
Encyclopaedia  Britannica.     11th  ed.     1910.     v.  7. 

p.  247.) 

Quellen  fiir  die  Kenntnis  der  Kostume.  (In  Meyer's 
Konversations-Lexicon.  4th  ed.  1888.  v.  10, 
pp.  120-21.) 

Brief  list  of  works  on  costume. 

—  Same.  (In  Same.  6th  ed.  1904-08.  v.  11, 
p.  539.)  Ref.  G033M61KO 

Preceding  list  revised  and  enlarged. 

Racinet,  A.  C.  A.  Le  Costume  Historique.  1888. 
Bibliography,     v.  1.     pp.  113-24.    Ref.  r390Rl2 

Classified  list  of  about  400  titles. 

Rhead,  G.  W.  Bibliography  of  Costume.  (In  his 
Chats  on  Costume.     1906.     pp.  15-16.)    391R46 

Sargent,  J.  F.  Customs  and  Costume:  a  list  of 
books  and  magazine  articles.  (In  his  Reading  for 
the  Young.  Issued  by  the  Amer.  Library  Assoc, 
1890.    pp.  9-10.)  Ref.  028S24 

14  annotated  titles  of  books,  88  references  to  periodicals. 

Select  List  of  Works  and  References  on  Costume. 
(In  Finsbury  [England]  Public  Library  quarterly 
guide.     Jan.,  1909.     pp.  227-34.) 

Annotated  and  classified  list. 

Thurston,  Herbert.  Bibliography  of  Clerical  Cos- 
tume.   (In  Catholic  Encyclopedia,    v.  4.    p.  421.) 

Ref.  282C363 

12  titles. 

Vinet,  Ernest.  Bibliographic  du  Costume.  (In 
Racinet,  A.  Costume  Historique.  1888.  v.  1. 
pp.  113-24.)    •  Ref.  F390R12 

Classified  list  of  about  400  titles. 

Waern,  Cecilia.  Note:  Bibliography  of  Fans. 
(In  her  Short  Historical  Sketch  of  Fans.  1895. 
pp.  28-29.)  391W12 

Brief  annotated  list. 

Weiss,  Hermann.  Verzeichniss  der  Abbildungen, 
nach  ihren  Quellen.  (In  his  Kostiimkunde. 
I,  Alterthum.     1881.     pp.   xxiii-xli.)     G391W42 

Liit  of  works  on  ancient  costume. 


Weiss,  Hermann.  (In  his  Kostiimkunde.  11, 
Mittelalter.     1883.     pp.  ii-xxviii.) 

List  of  works  on  mediaeval  costume. 

—  Same.  (In  his  Kostiimkunde.  III.  1.  2, 
14tes  Jahrhundert  bis  auf  die  Gegenwart.  1872. 
pt.  2.     pp.  1371-88.) 

List  of  works  on  costumes,  14th  century  to  the  present 
time. 

Periodicals  Useful  for  the  Study  of  Costume 

Delineator. 

Gazette  du  Bon  Ton 

Godeys  Lady's  Book. 

Graham's  Magazine. 

Graphic. 

Harper's  Bazar. 

Ulustrated  London  News. 

Journal  des  Dames  et  des  Modes. 

L'Hlustration. 

Ladies'  Cabinet  of  Fashion,  Music,  and  Romanes. 

Ladies'  Home  Journal. 

La  Mode  Ulustree. 

Le  Costume  Royal. 

Le  Tour  du  Monde. 

National  Geographic  Magazine. 

Peterson  s  Magazine. 

Punch. 

Sketch. 

The  Children's  Costume  Royal. 

Ueber  Land  und  Meer. 

Vogue. 

Young  Ladies'  Journal. 

General  Works 

This  list  includes  tcorks  dealing  with  a  number  of 
countries  or  subjects 

Accurate  Historical  Account  of  all  the  Orders  of  Knight- 
hood at  Present  Existing  in  Europe.     2  v.     n.d. 

Ref.  929.7H25 

Descriptions  of  costumes  and  regalia  of  the  different 
orders. 

Ammon,   Jobst.     The   Theatre   of   Women.     1872. 

R391A51 

a  reprint  from  the  edition  of  1586.  Female  costumes  of 
all  the  principal  nations  and  peoples  of  Europe. 

Aria,  Mrs.  E.  Costume:  Fanciful,  Historical,  and 
Theatrical.     Illus.  by  Percy  Anderson.     1906. 

391A69 

Historical,  peasant,  oriental,  ceremonial,  bridal,  dancine, 
fancy,  and  theatrical  costume.  Colored  plates  and  half- 
tones. 

Armies  of  To-day.  Edited  by  W^esley  Merritt  and 
others.     1893.  355M57 

Articles,  illustrated  by  wood-cuts,  on  armies  of  United 
States,  Great  Britain,  Germany,  France,  Russia,  Austria- 
Hungary,  Italy,  and  Mexico. 


BIBLIOGRAPHY 


Page  One  Hundred  Thirty-nine 


Art  of  Dress;  or  Guide  to  the  Toilette.     1839.  391A78 

6  plates  of  colored  engravings. 

Aspin,  J.  Cosmorama:  a  View  of  the  Costumes 
and  Peculiarities  of  all  Nations.     1826.       910A81. 

Illustrations  are  small ,  and  are  colored. 

Ballin,  A.  S.  (Mrs.  Berry.)  Science  of  Dress  in 
Theory  and  Practice.     1885.  613B19 

Belin,  and  others.  Costumes  de  Su&de,  Norw^ge, 
Danemark,  HoUande,  et  AUemagne;  dessines  par 
Belin,  Girardet,  Sharles,  Verveer.     [About  I860.] 

Ref.  F391B43 

20  colored  plates. 

Berghaus,  Ileinrich.  Die  Volker  des  Erdballs. 
2  V.     1861.  *  G572B49 

Numerous  colored  plates. 

Beyschlag,  Robert.  Female  Costume  Pictures:  fig- 
ures of  female  grace  and  beauty  in  costumes  of 
various  centuries,  from  twelve  drawings  in  pastel. 
1886.  R  391B57 

Blanc,  A.  A.  P.  C.  Art  in  Ornament  and  Dress. 
1877.  646B63 

"  Personal  adornment,"  pp.  49-274.     Many  cuts   and   2 
colored  plates  of  head-dress  and  apparel. 

Boehn,  Max  von.  Die  Mode:  Menschen  und 
Moden  im  neunzehnten  Jahrhundert.  Ausge- 
wahlt  von  Oskar  Fischel.  Text  von  Max  von 
Boehn.     1907.  G391B67 

Covers  the  period  1818-1842.     Many  illustrations,  36  in 
color. 

—  Modes  and  Manners  of  the  19th  Century.  3  v. 
1909.  391B67 

Colored  plates. 

Bonnard,  C.  Costumes  Historiques  des  XII^,  XIII®, 
XIV®  et  XV®  Siecles.  Dessines  et  graves  par 
Paul  Mercuri  avec  un  texte  historique  et  de.scriptif 
par  Camille  Bonnard.  Nouvelle  Edition  avec  ime 
introduction  par  Charles  Blanc.  3  v.  1860-61. 
Ref.  F391B710 

200  colored  copper  engravings. 

Brownell,  H.  H.  Eastern,  or  Old  World :  embracing 
ancient  and  modern  history.     2  v.     1856. 

909B88 

Has  hand-colored  wood-cuts,  showing  costumes  from  early 
times  to  19th  century. 

Burke,  Sir  Bernard.  The  Book  of  Orders  of  Knight- 
hood and  Decorations  of  Honour  of  all  Nations. 
Fully  illustrated  with  colored  plates.     1858. 

R  929.7B95BO 


Child,  Theodore.     Wimples  and  Crisping  Pins.    1895. 

391C53 

Illustrated    studies    in    the  coiffure    and     ornaments    of 
women,  from  ancient  times  through  the  early  19th  century. 

Clothes  and  the  Man;  hints  on  the  wearing  and  caring 
of  clothes.     1900.  6-16C64. 

Discussion  of  modern  male  attire. 

Collier,  John.     Art  of  Portrait  Painting.     1905. 

Ref.  757C69 

41  portraits  in  color  and  half-tone,  showing  costumes  from 
Giotto  to  Watts. 

Costume.       (In    Encyclopedia    Americana.       1903. 
V.  5.)  Ref.  031E56 

Historical  sketch  with  brief  bibliography. 

Costume.     (In  Encyclopaedia  Britannica.     11th  ed. 
1910.     V.  7.     pp.  224-47.)  R 

Historical.     51  figures.     Bibliography. 

Costume.     (In    New    International    Encyclopaedia. 
1902.     V.  5.     pp.  328-34.)  Ref.  031 161  Gi 

Historical.     2  plates  (15  figures)  and  bibliography. 

Costume.     (In    New    International    Encyclopaedia. 
2d  ed.     1914.     v.  6.     pp.  137-48.)  R 

Historical.     3  plates  (23  figures). 

Costume.     (In   Nouveau   Larousse  -  Illustr*?.     v.   3. 
p.  314.)  R 

4  colored  plates  of  civil  and  military  costume. 

Costume  of  the  Lower  Orders  of  the  Metropolis,     n.d. 

391C84 

No  text.     Contains  colored  plates. 

Davis,  R.  H.     Rulers  of  the  Mediterranean.     1894. 

910D21R 

Half-tone  plates  and  wood-cuts  of  costumes  of  Gibraltar, 
Malta,  Tangier,  Egypt,  Athens  and  Constantinople. 

Davy,  Richard.     Furs  and  Fur  Garments,     n.d. 

391D24 

General  historical  sketch.     12   plates  showing  fur  gar- 
ments, 9th-19th  centuries. 

Decorum;  a  practical  treatise  on  etiquette  and  dress 
of  the  best  American  society.     1880.         395D29 

Dewing,  Mrs.  M.  R.     Beauty  in  Dress.     1881. 

646D52 

^Esthetics  of  women's  dress. 

Duller,   E.     Volkstrachten :    Album   von  50   Blatt 
Kostiimbildern.  Ref.  391D88 

Colored  lithographs  taken  from  Duller's  work. 

Ecob,H.G.     Well-dressed  Woman.     1892.     613E19 

Numerous  half-tones  and  wood-cuts. 


Page  One  Hundred  Forty 


BIBLIOGRAPHY 


Egerton,  M.  M.,  Countess  of  Wilton.  Book  of  Cos- 
tume; or.  Annals  of  fashion,  from  the  earliest 
period  to  the  present  time.      Newed.     1847. 

Ref.  391\V75 

Detailed  descriptions  of  European  and  Asiatic  dress. 
About  200  wood-cuts. 

Ellsworth,   E.   P.    Textiles  and   Costume  Design. 

Illustrated.      1917.  646E47 

Emerson,  Edwin,  Jr.     History  of  the  19th  Century. 

3  V.     1902.  909E53 

16  colored  and  32  half-tone  plates,  some  of  use  for  costume. 

Erskine,  Mrs.  Beatrice.  (Mrs.  Stuart.)  Beautiful 
Women  in  History  and  Art.     1905. 

Ref.  920E732 

37  half-tone  plates,  showing  English  and  French  dress, 
16th-18th  centuries. 

The  European  Delineator.  Containing  brief  but 
interesting  descriptions  of  Russia,  Sweden,  Den- 
mark, Norway,  etc.     1815.  Ref.  914E89D 

20  colored  engravings. 

Fales,  Jane.  Dressmaking.  A  Manual  for  Schools 
and  Colleges.  With  chapter  on  the  Historic  Devel- 
opment of  Costume.   Illustrated.    1917.      646F18 

Fancy  Dress.  A  Short  Chronological  Series  of 
Costumes,     n.d.  391F19 

Farnsworth,  E.  0.  The  Art  and  Ethics  of  Dress. 
Illustrated.     1915.  177F23 

Ferrario,  Giulio,  and  others.  Le  Costume,  Ancien 
ctModeme.     18  v.     1815-29.         Ref.  F391F37 

Africa  (2  v.),  America  (2  v.),  Asia  (4  v.),  Europe  (6  v.  in  9). 
General  sketch  of  history  of  costume  for  practically  every 
nation  of  historic  note.  Illustrated  with  hand-colored 
copperplates. 

Finden,  William.     Finden's  Tableaux.     1837. 

Ref.  769F49 

13  scenes  of  national  character,  beauty,  and  costume. 

Fo.v,  G.  P.  Fashion,  the  Power  that  Influences  the 
World.     3ded.     1871.  391F79 

Chiefly  discusses  modern  male  dress. 

Gale,  E.  C.     Hints  on  Dress.     1872.  646G15 

Discussion  of  modern  costume. 

Godwin,  E.  W.  Dress  and  Its  Relation  to  Health 
and  Climate.     1884.  391G59 

Small  wood-cuts  of  dress  of  various  types,  from  early 
Egyptian  times  to  about  1850. 

Grasset  de  Saint-Sauveur,  G.     Costumes,     n.p.,  n.d. 

Ref.  391G76 

Hand-colored  engravings  of  costumes  of  all  countries. 

Grosvenor,  G.  H.     Scenes  from  Every  Land.     Second 

Series.     1909.  910G87 

—  Scenes  from  Every  Land.     Third  Series.     1912. 

910G87S 
GuiUaumot,  A.  E.     Costumes  de  I'Op^ra.     1883. 

Ref.  F391G95C 

50  colored  plates,  17th  and  18th  centuries. 


Haweis,  Mrs.  H.  R.     Art  of  Dress.     1879.     391H38 

Artistic  principles  of  costume.     Many  wood-cuts. 

Heaton,  H.  A.     Brooches  of  Many  Nations.     1904. 

391H44 

78  wood-cuts  of  brooches,  from  Assyria  to  Scotland. 

Hefner- Alieneck,  J.  H.  v.  Trachten,  Kunstwerke, 
und  Gerathschaften,  vom  friihen  Mittelalter  bis 
Ende  des  achtzehnten  Jahrhunderts.  5  v.  1879- 
89.  R  G709H46 

720  colored  plates. 

Heyden,  A.  von.  Die  Tracht  der  Kulturvolker 
Europas,  von  Zeitalter  Homers  bis  zum  Beginne 
des  XIX.  Jahrhunderts.     1889.  G39lHei 

222  illustrations  (wood-cuts). 

Higgin,  L.     Art  as  Applied  to  Dress.     1885. 


646H63 


^Esthetics  of  dress. 


Hints  about  Mens  Dress.  By  a  New  York  clubman. 
1888.  646H66 

Principles  of  selection. 

Hooge,  Romeyn  de.  {?)     Costumes,     n.p.,  n.d. 

Ref.  391H77 

43  copper-plates  of  costumes  of  many  countries. 

Ho-pe,  Thomas.  Costume  of  the  Ancients.  2  v. 
New  cd.     1841.  Ref.  391H79 

Brief  descriptive  sketch  of  Egyptian,  Asiatic,  Greek,  and 
Roman  costume,  followed  by  321  outline  plates. 

Hottenroth,  F.  Trachten,  Hans-,  Feld-,  und  Kriegs- 
gerathschaften  der  Volker  alter  und  neuer  Zeit. 
2  V.     n.d.  G391H83 

120  colored  plates  and  numerous  woodcuts. 

Hughes,  Talbot.     Dress  Design:   an  account  of  cos- 
tume, for  artists  and  dressmakers.     1913. 

646H89 

Has  35  collotype  plates  and  numerous  other  illustrations, 
900^1870 

Hughes,  T.  P.  Dress.  (In  his  Diet,  of  Islam. 
1895.     pp.  92-99.)  Ref.  297H89 

Mohammedan  dress.     9  wood-cuts. 

Hunt,  Mrs.  M.  (Averil  Beaumont.)  Our  Grand- 
mothers' Gowns,     n.d.  391H94 

Contains  colored  plates. 

Hutchinson,  H.  N.  and  others.  Living  Races  of 
Mankind.     1902.  Ref.  572H97 

Half-tones  of  nearly  all  extant  nations,  in  modern  dress. 

Iconographic  Encyclopedia.     1886.     v.  2. 

Ref.  033117 

See  "  Dress  "  and  "  Costume  "  in  Index,  and  plates  34-38 
(80  figures). 


BIBLIOGRAPHY 


Page  One  Hundred  Forty-one 


Ireland,  J.  B.  Wall-Street  to  Cashmere:  five  years 
in  Asia,  Africa,  and  Europe,  1851-56.     1859. 

910IG5 

Colored  plate  of  Arab  costume,  and  wood-cuts  of  other 
costumes. 

Jacquemin,  R.  Histoire  G6nerale  du  Costume 
Civil,  Religieux,  et  Militaire  du  IV""''  au  XIl''"'' 
Siecle.— Occident  (.315-1100).    Paris,  n.d.  (?188-.) 

Ref.  F391J19 

Jeune,  Lady.  Dress  for  Motoring :  dress  for  ladies. 
(In  Harmsworth,  A.  C.  and  others.  Motors  and 
Motor-driving.     190'-2.     pp.  66-71.)         621.4H^28 

4  cuts  of  motor  costume. 

Johnson,  John.  A  Journey  from  India  to  England, 
through  Persia,  Georgia,  Ru.ssia,  Poland,  and 
Prussia,  in  the  Year  1817.     1818.  915J67 

5  colored  plates. 

Jones,  William.  Coronation  Robes.  (In  his 
Crowns  and  Coronations.     1883.     pp.  491-504.) 

394J79 

Wood-cuts  of  costumes. 

Joyce,  T.  A.  Women  of  All  Nations.  2  vols. 
1908.  572J89 

25  colored  plates  and  many  smaller  illustrations  of  the 
women  of  all  countries. 

Kohl,  J.  G.     Die  Volker  Europas.     1872. 

G914K79 

8  colored  plates. 

Koppen,  F.  von.  Armies  of  Europe,  illustrated. 
1890.  3.55K77 

20  double-page  colored  plates  and  many  cuts  of  uniforms 
of  modern  Europe. 

Kostiim.  (In  Brockhaus'  Konversations-Lexicon. 
14th  ed.     1895.     v.  10.)  Ref.  G033B86 

Historical  sketch,  with  4  colored  plates      Bibliography. 

Kostiim.  (In  Meyer's  Konversations-Lexicon.  4th 
ed.     1880.     v.  10.     pp.  120-21.) 

Ref.  G033M61KO 

Historical    survey.     3   double- page    colored    plates    (41 
figures).     Bibliography. 

—  Same.  10th  ed.  1905.  v.  11.  pp.  537-39. 
V.  20.     p.  242. 

3  colored  plates  with  smaller  figures  than  those  in  the 
4th  ed. 

Kretschmei ,  Albert.  Costumes  of  All  Nations,  from 
the  earliest  times  to  the  19th  century.     1882. 

Ref.  391 K92 

lot  colored  plates  in  general  chronological  arrangement. 

—  Die  Trachten  der  Volker,  vom  Beginn  der  Ge- 
schichte  bis  zum  19ten  Jahrhundert.     1864. 

Ref.  G391K92T 


Lacy,  T.  H.  Female  Costumes,  Historical,  National, 
and  Dramatic.     1865.  Ref.  391H152C2 

Contains  colored  plates. 

—  Male  Costume,  Historical,  National,  and  Dra- 
matic.    1868.  Ref.  391L152C1 

No  text.     Contains  colored  plates. 

Lechevallier-Chevignard,  G.  Costumes  Historiques 
de  Femmes  du  XIV^"*^  au  XVIir"'"  Siecle. 
1889.  Ref.  F391L45 

Colored  plates. 

Lipperheide,  F.  J.,  Freiherr  von.  Katalog  der 
Freiherrlich  von  Lipperheide'schen  Kostiimbib- 
liothek.     2.  v.     1896-1901.  RG016L76 

03?    illustrations   from   catalogued   works,    showing   cos- 
tumes of  all  periods.     Half-tones. 

Loemyer,  J.  F.  N.  (Auguste  Wahlen.)  Mueurs, 
Usages,  et  Costumes  de  tons  les  Peui)les  du 
Monde.— Oceanic.     1843.  RF919L82 

34  colored  plates. 

Lord,  W.  B.  The  Corset  and  the  Crinoline;  a  book 
of  modes  and  costumes,  from  remote  periods  to 
the  present  time.     1865.  391L11 

54  full-page  and  other  engravings. 

Louandre,  Charles.  Les  Arts  Somptuaires.  1857- 
58.     3  v.     (1  V.  text,  2  v.  plates.)  Ref. 

Special  attention  paid  to  French  costume.     Richly  colored 
plates  of  costume,  etc.,  from  5th-17th  century  MSS. 

Le  luxe  (Paris)  Supplement.  Ball,  Winter,  and  Sum- 
mer Costumes  for  1893-94.  RF391L97 

Contains  colored  plates. 

Malerische  Studien:  eine  Reise  um  die  Welt,  in 
200  farbigen  Photographien.      n.d.      RG910M24 

Many   of   the   200   colored   half-tones   give   the   modern 
costumes  of  European  and  Asiatic  countries. 

Malliot,  Joseph.  Recherches  sur  les  Costumes .  .  . 
des  ancicns  peuples.     3  v.     1809.  F391M25 

Marechal,  P.  S.  Costumes  Civils  Actuels  de  tous 
les  peuples  connus.     4  v.     1788.  RF391M32 

Mazny,  M.  A.     Types  et  Caracteres  Ancicns.     1841 . 

RF390M47 

21  colored  plates. 

Menard,  Rene.  Le  Vetement.  (In  his  Vie  Priv^e 
des  Ancicns.     1881.     v.  2.     pp.  227-384.) 

F913M53 

Ancient,  Oriental,  Greek,  and  Roman  costumes.     Nearly 
300  outline  illustrations. 

Merrifield,  Mrs.  M.  P.  Dress  as  a  Fine  Art;  with 
suggestions  on  children's  dress.  With  an  introd. 
on  head  dress  by  Prof.  Fairholt.     1854.     391M56 

Outline  plates. 


Page  One  Hundred  Forty-two 


BIBLIOGRAPHY 


Michel,  F.  F.  F.     (Antony  Real.)     Story  of  the 
Stick  in  all  Ages  and  Lands.     1891.  391M62 

History   of   walking   sticks.     Several   plates  incidentally 
showing  costume. 

Miln,  L.  J.     When  We  were  Strolling  Players  in  the 
East.     1894.  914.39G35 

Costumes  of  India,  China,  and  Japan.     About  20  plates. 

Moore,  N.H.    Lace  Book.  746M82 

Half-tone  plates  of  lace  and  lace-trimmed  costumes. 

Morris,  Charles.     Home  Life  in  all  Lands.     1907. 

910M97HO 

"  In  the  World's  Tailor-shop,"  chap.  2;   "  In  the  World's 
Dressing-room,"  chap.  3.     Many  half-tones  of  costume. 

Moses,  H.    Designs  of  Modern  Costume,  etc.     ca. 
1815.  R391M91 

29  plates. 

Murray,  A.  S.     Costume.     (In  Encyc.  Brit.     9th 
ed.     1878.)  Ref.  032E56 

Historical  and  descriptive,  with  52  wood-cuts  and  bibliog- 
raphy. 

National  Beauties  and  their  Costumes,     n.d. 

391N27B 

1.5    photograph-s    of    women    in    various    European    and 
Oriental  countries. 


National  Types  and  Costumes,    n.d. 


391N27 


Photographs  of  feriinine  types  and  costumes  of  Europe 
and  Asia. 

Oliphant,  Mrs.  M.  0.  W.     Dress,     n.d.  646047 

.Esthetics  of  dress.     Several  illustrations. 

Parmentier,  A.  Album  Historique,  Publie  sous  la 
Direction  de  Ernest  Lavisse.     4  vols.     1900-1907. 

Ref.  F909P25 

Each  volume  has  1500  to  2000  wood-cuts. 

Pauquet  Freres.  Illustrations  of  English  and 
Foreign  Costume,  from  the  15th  Century  to  the 
Present  Day.     1875.  Ref.  391P33I 

96  colored  plates  (Europe,  Asia,  Africa),  without  text. 

051P48 

Monthly  articles  on  current  fashions.  Steel  and  colored 
plates  of  current  female  fashion. 

Pickering,  C.     Races  of  Man.     1854.  572P59 

12  colored  plates  of  savage  types. 

Pictures  of  Other  Folks  at  Home.    n.d.  914.6P37 

lUiistrations  of  typical  costumes. 

Planche,  J.  R.  Cyclopedia  of  Costume,  from  the 
Commencement  of  the  Christian  Era  to  the 
Accession  of  George  the  Third.     2  v.     1876. 

Ref.  391P69C 

Volume  1,  dictionary;  volume  2,  general  history  of  cos- 
tume in  Europe.  Many  chroaio-lithographs,  "plain  plates" 
and  wood-cuts. 


Petersons  Magazine.     1856-98. 


Porter,  Sir  R.  K.  Travels  in  Georgia  [Asia],  Persia, 
Armenia,  Ancient  Babylonia,  during  the  years 
1817,  1818,  1819,  1820.     2  vols.     1821.     915P84 

Illustrated  with  portraits,  plates,  and  maps. 

Praga,  Mrs.  Alfred.  What  to  Wear  and  when  to 
Wear  it.     1903.  391P89 

Esthetics    of    dress.     S    half-tones    of    head-dress    and 
female  costumes. 

Prichard,   J.    C.     The  Natural   History   of   Man. 


1848. 


573P947N 


50  colored  and  5  plain  steel  engravings,  and  97  wood-cuts 
of  native  races.     21  of  the  colored  are  of  American  Indians. 

—  Same.     4th  ed.     2  vol.  573P947 
Quigley,  Dorothy.     What  Dress  Makes  of  Us.     1897. 

391Q6 

Many  outline  cuts. 

Racinet,  A.     Costume  Historique.     6  v.     1888. 

Ref.  F390R12 

500  plates  (300  colored)  of  practically  every  country  and 
period.  Bibliography.  One  of  the  most  complete  and 
accurate  works  on  the  subject. 

Rhead,  G.  W.     Chats  on  Costume.     1906.     391R46 

Colored  frontispiece  and  117  wood-cuts  and  line  engrav- 
ings.    Bibliography. 

—  Modern  Practical  Design.     1912.  740R46M 

—  Treatment  of  Drapery  in  Art.     1904.        743R46 

50  diagrams  and  line  drawings,  and  32  half-tone  plates. 

Ridpath,  J.   C.     Great  Races  of  Mankind.     4   v. 
1892.  Ref.  572R54 

See  "  Costume  "  and  "  Dress  "  in  general  index.  Illus- 
trations include  colored  "  type  pictures  "  and  many  wood- 
cuts of  many  nationalities. 

—  Universal  History.     17  vols.     1896. 

Ref.  909R54U 

Practically  same  material  as  his  "  Great  Races." 

Ritchie,  Leitch.     Beauty's  Costume:    female  figures 
in  the  dresses  of  all  times  and  rations.     1838. 

Ref.  391R59 

12  steel  plates  with  brief  descriptive  text. 

St.  John,  J.  A.    Oriental  Album.     1848. 

R916.2S1430 

A  series  of  30  lithographic  plates,  with  a  number  of 
wood  engravings. 

Songster,  William.     Umbrellas  and  their  History. 
1871.  391S22 

Historical  sketch,  with  caricatures. 

Seguin,   L.    G.     Picturesque   Tour   in   Picturesque 
Lands.     1881.  Ref.  914S45 

Nearly  100  wood-cuts  of  European  costumes. 

Shoberl,    Frederic.     World    in    Miniature.     42     v. 

1821-27.  Ref. 

Colored  engravings  of  costumes  of  all  nations.  (See 
under  separate  countries.) 


BIBLIOGRAPHY 


Page  One  Hundred  Forty-three 


Simpson,  William.  Picturesque  People:  groups 
from  all  quarters  of  the  globe.     187C. 

Ref.  915861 

18  colored  plates. 

—  The  Seat  of  War  in  the  East.  2  v,  in  1.  1855- 
56.  Ref.  947S61 

81  lithographs,  introducing  uniforms  of  Crimean  War. 

Skeat,  W.  W.     The  Past  at  our  Doors.     1911. 

390S62 
"  The  Story  of  our  Dress."     pp.  50-122       Illustrated. 

Spalart,  Robert  von.  Versuch  iiber  das  Kostum  der 
vorziiglichsten  Volker  des  Alterthums.  3  v. 
1796-98.  RG391S73 

Contains  colored  plates. 

Steele,  F.  M.  Beauty  of  Form  and  Grace  of  Ves- 
ture.    1892.  613.7S81 

iEsthetics  of  dress. 

Sturgis,  Russell.  Costume.  (In  Universal  Cyclo- 
paedia.    1900.     V.  3.     pp.  209-12.)  R03ir58 

Historical. 

Traphagen,  Ethel.    Costume  Design  and  Illustration. 

"With  outline  of  historic  costume.     Illustrated. 
Un  Siecle  de  Modes  Feminines.     1794-1894.     Quatre 

cents  toilettes  reproduites  en  couleurs  d'apres  des 

documents   authentiques.     1896.  391S57 

JJzanne,  L.  0.     The  Sunshade,  the  Glove,  the  Muff. 

1883.  391U99S 

Historical.     Numerous  photogravures. 

Vackon,   Marius.     La   Femme   dans   I'Art.     1893. 

Ref.  F759V11 

400  wood-cuts,  from  paintings  and  sculptures,  of  women 
from  early  Egypt  to  the  present  time. 

Vecellio,  C.  Costumes  Anciens  et  Modernes.  2  v. 
1860.  RF391V41 

513  illustrations  of  all  types  of  people.      Text  in  Italian 
and  French. 

Volbtandige  Volker gallerie  in  getreuen  Abbildungen 
aller  Nationen.     Vols.  1,  3.     1830-39.     G910V92 

Colored   illustrations   of   people   in   various   countries   of 
Europe,  Asia,  and  .Vfrica. 

Wagner,  L.  Manners,  Customs,  and  Observances. 
1895.  Ref.  390W13 

Scattered  notes  on  peculiarities  of  costume.     See  Index. 

Walker,  Isaac.  Dress:  as  It  has  Been,  Is,  and  Will 
Be.     1885.  39nYl7 

General  discussion.     A  few  wood-cuts. 

Ward,  Mrs.  E.  S.  Phelps.     What  to  Wear.     1873. 

No  illustrations.  613W25 

Webb,  W.  M.  Heritage  of  Dress;  being  notes  on 
the  history  and  evolution  of  clothes.  Illustrated. 
1908.  391W36 


Weise  &  Co.  100  historische  Kostum-  and  Volks- 
trachten-Bilder.     n.d.  R391W42 

Colored  plates,  no  text. 

Weiss,   Hermann.     Kostiimkunde;    Geschichte  der 
Tracht  und  des  Geraths.     3  v.  in  4.     1872-1883. 

G391W42 

I.  Die  Volker  des  Alterthums.  2e.  Auflage.  1881. 

454  wood-cuts  and  8  chromolithographic  plates. 

II.  Das  Mittelalter,  vom  4.  bis  zum  14.  Jahr- 

hundert.     2e.  Auflage.     1883. 

367  wood-cuts  and  8  chromolithographic  plates. 

m.  Vom     14ten     Jahrhundert    bis    auf    die 
Gegenwart.     2  pts.     1872. 

418  wood-cuts  (900  figures). 

Whitcomb,  Merrick.  History  of  Modern  Europe. 
1903.  940W58 

Several  illustrations  of  costume. 

Whole  Art  of  Dress.     1830.  391W62 

Engraved  illustrations  of  hats,  boots,  neckwear,  etc. 

Willemin,  N.  X.  Choix  de  Costumes  Civils  et  Mili- 
taires  des  Peuples  de  I'Antiquite.     2  v.     1802. 

RF913W69 

ISO  engraved  plates. 

Woolson,  A.  G.  Dress-reform.  Lectures  on  dress 
as  it  affects  the  health  of  women.     1874.     613W91 

A  few  wood-cuts. 

Young,  J.  R.  Around  the  World  with  Gen.  Grant. 
2  V.     1879.  910Y73 

Many  wood-cuts  of  costumes. 

Zogbaum,  R.  F.     Horse,  Foot,  and  Dragoons.     1888. 

355Z85 

Wood-cuts  of  uniforms  of  France,  Great  Britain,  Germany, 
and  the  United  States. 

Zur  Geschichte  der  Kostume;  nach  Zeichnungen  von 
Wilhelm  Diez  [and  others.]  Herausg.  und  verlegt 
von  Braun  &  Schneider,  n.d.  (Miinchener 
Bilderbogen.)  Ref.  G391Z96 

119  colored  plates  (Nos.  296-1212,  not  consecutive), 
showing  costumes  of  Europe  and  .Asia,  4th  to  19th  centuries. 
No  index  or  systematic  arrangement. 

Abyssinia 

Halle,  Clifford.     To  Menelek  in  a  Motor-car.     1913. 

916.3H18 

72  illustrations  from  photographs. 

Skinner,  R.  R.     Abyssinia  of  To-day.     1906. 

916.3S62 

Abyssinian  costume,  pp.  126-30,  135.     15  half-tone  plates. 

Vivian,  HerbeH.     Abyssinia.     1901.  916.3V85 

80  illustrations. 


Page  One  Hundred  Forty-four 


BIBLIOGRAPHY 


Afghanistan 

Bouillane  de  Lacoste,  Major  de.  Around  Afghanis- 
tan.    1909.  915.8B76 

83  illustrations,  many  of  them  showing  costume. 

Egerton,  M.  M.,  Countess  of  Wilton.  Toilette  in 
Afghanistan.  (In  her  Book  of  Costume.  1847. 
pp.  449-.56.)  Ref.  391W75 

7  wood-cuts. 

Hamilton,  Angus.     Afghanistan.     1906.     915.8H21 

Costume  in  Kabul,  pp.  380-84.     Several  half-tone  plates 
of  costume. 

Africa 

Adolf  Friedrieh,  Duke  of  Mecklenburg-Schw^rin. 
From  the  Congo  to  the  Niger  and  the  Nile.  2  v. 
1913.  916A23 

Angas,  G.  F.  Kafirs  Illustrated.  Also  portraits  of 
other  races  inhabiting  South  Africa.     1849. 

Ref.  916.8A58 

Scattered  references  on  costume.     30  colored  plates  and 
11  wood-cuts. 

Ferrario,  Giulio.  Afrique.  (In  his  Costume.  1815- 
29.     Afrique.     v.  1-2.     [v.  5-6.])     Ref.  F391F37 

Colored  copperplates  of  ancient  and  modern  costume. 

Hall,  R.  N.  Great  Zimbabwe,  Mashonaland, 
Rhodesia.     1905.  916.8H17 

Several  half-tones  of  natives. 

Johnston,  Sir  Harry.     Liberia.     2  v.     1906. 

966J22 

"  Clothing,"  V.  2,  pp  9.54-70.    Several  colored  plates  and 
numerous  half-tones  of  natives. 

Kidd,  Dudley.     Essential  Kafir.     1904.      916.8K46 

19  half-tone  plates  of  costumes. 

—  Savage  Childhood:  a  story  of  Kafir  children. 
1906.  572K46 

32  half-tone  plates  of  children. 

Landor,  A.  H.  Savage-.  Across  Wildest  Africa. 
2  V.     1907.  916.6L26 

See   "  Costumes  "  in  Index.     Many  half-tone  plates  of 
African  and  Moorish  dress. 

Lloyd,  A.  B.  Uganda  to  Khartoum:  life  and  ad- 
ventures on  the  upper  Nile.     2d  ed.     1907. 

916.7L79 

Dress  of  the  Gangs,  pp.  173-77.      Over  30  illustrations  of 
costume. 

Mackintosh,  C.  W.     Coillard  of  the  Zambesi.     1907. 

BC679M 

About  25  half-tones  of  Zambesi  natives. 

Neufeld,  Charles.     Prisoner  of  the  Khaleefa.     1899. 

916.2N48 

25  half-tone  plates  of  Soudanese  Arab  dress. 


Powell,  R.  S.  S.  Baden-.  Natives  of  British  East 
Africa.  (In  his  Sketches  in  Mafeking  and  East 
Africa.     1907.     pp.  140-46.)  R916P88 

Numerous  sketches  and  wash-drawings  of  natives  of  South 
and  East  Africa. 

Shoberl,  Frederic.  World  in  Miniature:  Africa. 
4  V.     (Vol.  I  missing.)     n.  d.  Ref.  916S55 

45  colored  engravings  of  Moors  and  Negroes. 

Sladen,  Douglas.     Carthage  and  Tunis.     2  v.     1906. 

916.1S63 

Numerous  half-tones  and  one  colored  plate  of  costumes  of 
Tunis. 

Stow,  G.  W.    Native  Races  of  South  Africa.     1905. 

572S89 

See  "  Clothing  "  in  index. 

Tully,  Richard.  Narrative  of  a  Ten  Years'  Resi- 
dence at  Tripoli  in  Africa.  Also,  An  Account  of 
the  Domestic  Manners  of  the  Moors,  Arabs,  and 
Turks.     2ded.     1817.  *  916.1J92 

6  of  the  8  colored  plates  show  costume. 

Vollstandige  Volkergallerie.  Erster  Band,  zweite 
Abtheilung.— Afrika.     1830.       G910V92  (Vol.  1.) 

Colored  illustrations. 

Werner,  A.  Natives  of  British  Central  Africa. 
1906.  572W49 

Dress  of  children,  pp.  105-06.  Most  of  the  32  half-tone 
plates  show  costume. 

Albania.    See  Balkan  States 

Algeria 

Ayer,  Emma  B.  A  Motor  Flight  through  Algeria 
and  Tunisia.     1911.  916A97 

Illustrated  from  photographs  Costumes  of  Arabs,  of 
Arab  women,  and  of  dragomans  described. 

Berbrugger,  M.  Alg^rie;  historique,  pittoresque,  et 
monumentale.     3  v.     1843.  RF965B48 

Lithographs  and  wood-cuts  of  natives  and  French  soldiers. 
See  also  v.  1,  pp.  13-15  (Moorish  women),  and  v.  3,  pt.  5 
(Algerian  races). 


Leeder,  S.  H.     The  Desert  Gateway.     1910. 


916.5L48 


10  plates,  from  photographs. 


Nesbitt,F.E.     Algeria  and  Tunis.     1906.    916.5N45 

70  colored  illustrations. 

Simpson,    M.    H.    Hilton-.     Algiers    and    Beyond. 
1906.  916.5S61 

9  half-tone  plates  of  costume. 

Wilkin,  Anthony.     Among  the  Berbers  of  Algeria, 
n.d.  916.5W68 

See  also  Arab  Costume  and  Africa 


BIBLIOGRAPHY 


Page  One  Hundred  Forty-five 


Arab  Costume 

PuTv.:hardt,  J.  L.  Dress  of  the  Bedouins.  (In  his 
Notes  on  the  Bedouins  and  Wahabys.  1831. 
V.  1.     pp.  230-35.)  915.3B94N 

Bury,  G.  Wyman.     The  Land  of  Uz.     1911. 

915.3B975 

Egerton,  M.  M.,  Countess  of  Wilton.  Toilette  in 
Palestine  and  Syria.  (In  her  Book  of  Costume. 
1847.     pp.  476-82.)  Ref.  391W75 

3  wood-cuts. 

Ferrario,  Giulio.  Costumes  Barbaresques.  (In  his 
Costume.  1815-29.  Afrique.  v.  1.  [v.  5.] 
pp.  354-417.)  Ref.  F391F37 

6  colored  copperplates  of  Arabs  of  Barbary  States. 

Ireland,  J.  B.  From  Wall  Street  to  Cashmere. 
1859.  910165 

Colored  frontispiece  of  Arab  costume. 

Lane,  E.  W.  Arabian  Society  in  the  Middle  Ages. 
1883.  915.3L26 

Dress,  pp.  116-18,  157. 

Levati,  Amhrogio.  Arabes.  (In  Ferrario,  G.  Cos- 
tume. 1817.  Asie.  v.  3.  [v.  3.]  pp.  173- 
261.)  Ref.  391F37 

8  colored  copperplates  of  Arab  costume. 

Neufeld,  Charles.     Prisoner  of  the  Khaleefa.     1899. 

916.2N48 

25  half-tone  plates  of  Soudanese  Arab  dress. 

Riiete,  Emily.  Memoirs  of  an  Arabian  Princess; 
tr.  by  Lionel  Strachey.     1907.  BR921S 

pp.    85-91.     6  half-tone 


Female    fashions    of    Zanzibar, 
plates  of  Zanzibar  Arabs. 

Sladcn,  Douglas.     Carthage  and  Tunis 

Several  plates  of  Bedouins. 

See  also  Africa,  Egypt,  Turkish  Empire 


2  V.     1906. 
916.1S63 


Armenia.    See  Turkish  Empire 

Armor  and  Weapons 

Brett,  Edwin  J.  Pictorial  and  Descriptive  Record 
of  the  Origin  and  Development  of  Arms  and 
Armor.     1894.  R399B84 

Calvert,  A.  F.     Spanish  Arms  and  Armor.     1907. 

399C16 

3S6  illustrations. 

Davies,  A.  C.  Fox-.  Art  of  Heraldry;  an  Encyclo- 
paedia of  Armory.     1904.  Ref.  929.2D25A 

Plates  (some  colored)  and  cuts  of  armor. 


Demmin,  Auguste.  Illustrated  History  of  Arms  and 
Armor.     1877.     (Bell's  artists'  library.) 

399D38 

Nearly  2000  outline  illustrations. 

Druitt,  H.  Manual  of  Costume  as  Illustrated  by 
Monumental  Brasses.     1900.  391D79 

110  illustrations  (half-tone)  of  English  armor  and  dress  of 
the  14th  and  loth  centuries. 

Eccleston,  James.  Introduction  to  English  Antiq- 
uities.    1847.  913E17 

See  "  Armor  "  in  Index.     Outline  cuts  of  armor  to  about 
1660. 

Ffoulkes,  Chas.     Armor  and  Weapons.     1909. 

399F43 

52  figures  and  11  plates. 

—  The  Armorer  and  his  Craft,  from  the  11th  to  the 
16th  Century.     1912.  R399F43A 

69  diagrams  and  32  plates. 

—  Inventory  and  Survey  of  the  Armories  of  the 
Tower  of  London.     2  v.     1916.  R399L84 

Gardner,  J.  S.  Armor  in  England,  from  the  Earliest 
Times  to  the  17th  Century.     1898.  399G22 

16  colored  plates  and  more  than  80  other  illustrations. 

—  Foreign  Armor  in  England.     1898.  759S84 

8  colored  plates  and  44  illustrations  in  the  text. 

Gosse,  P.  H.    Assyria.     1852.  913G678 

"  War,"  pp.  203-397.     Cuts  of  Assyrian  armor  and  mili- 
tary dress. 

Hewitt,  John.  Ancient  Armor  and  Weapons  in 
Europe,  to  the  End  of  the  13th  Century.  3  v. 
1855.  399H61 

Illustrations  from  contemporary  monuments. 

Hodgetts,  J.  F.  The  English  in  the  Middle  Ages, 
from  the  Norman  Usurpation  to  the  Stuarts. 
1885.  914.2H68 

"  Armor,''  pp.  111-43. 

Lacombe,  P.  Arms  and  Armor  in  Antiquity  and  the 
Middle  Ages,  1869.  399L14 

—  Same.     1870. 

Lacroix,  Paul.  Arms  and  Armor.  (In  his  Arts  in 
the  Middle  Ages.     n.d.     pp.  75-105.) 

Ref.  970L14 

Colored  plale  and  wood-cuts.] 

MacJclin,  H.  W.     Brasses  of  England.     1907. 

739M15B 

Wood-cuts  and  descriptions  of  armor,  1277-1625. 

739M15 

Wood-cuts  from  rub- 


Monumental  Bras.ses.     1905. 

"  Armor,"  13th-17th  centuries, 
bings. 


Page  One  Hundred  Forty-six 


BIBLIOGRAPHY 


Michaud,  J.  F.  ■  History  of  the  Crusades.  2  v. 
n.d.  Ref.  940M62H 

100  plates  by  Gustave  Dor6. 

Saxon,  Mrs.  A.  L.  Belt  and  Spur:  stories  of  the 
knights  of  the  Middle  Ages.     1883.  940S27 

16  colored  illustrations  from  contemporary  MSS. 

Scott,  Sir  J.  S.D.     British  Army.     3  v.     1868-1880. 

355S42 

"  Body  armor,"  v,  1,  pp.  192-222.  Many  plates,  with 
notes. 

Seymour,  T.  D.  Homeric  Arms.  (In  his  Life  in 
the  Homeric  Age.     1907.     pp.  629-82.)     913S52 

13  cuts  of  arms  and  armor. 

Stuyvesant,  R.  Collection  of  Arms  and  Armor  of 
Rutherford  Stuyvesant,  1643-1909.     1914. 

R399S93 

50  plates. 

Trumble,  Alfred.  Sword  and  Scimetar:  the  Ro- 
mance of  the  Crusades.     1886.  940T86 

The  illustrations,  by  Dor6,  show  costumes  of  the  Cru- 
saders. More  plates  in  Michaud,  "  History  of  the  Cru- 
sades." 

Viollet-Le-Duc,  E.  E.    Military  Architecture.     1879. 

623V79 

Many  wood-cuts  of  fortifications  and  weapons  of  the 
Roman  and  mediseval  periods. 

See  also  the  entries  under  General  Works 

Asiatic  Islands.     See  Malaysia,  Philippine 
Islands 

Assyria 

Ferrario,  Giulio,  and  others.  Costumes  des  Assy- 
riens,  des  Babyloniens.  (In  his  Costume.  1817. 
Asie.     V.  3  [v.  3].    pp.  351-81.)     Ref.  I391F37 

Colored  copperplate  of  Assyrian  costume. 

Gosse,P.H.    Assyria.     1852.  913G678 

"  Costume,"  pp.  437-87.  20  cuts.  Military  costume, 
pp.  203-397. 

Layard,  A.  H.    Nineveh  and  its  Remains.     1852. 

913L42 

Dress,  pp.  248-63.     A  few  wood-cuts  show  costume. 

Maspero,  G.  Life  in  Ancient  Assyria.  (In  his  Life 
in  Ancient  Egypt  and  Assyria.  1892.  pp. 
194-376.)  913M41 

Cuts  of  costume  from  Assyrian  antiquities. 

Australia 

Lumholtz,  Carl.  Among  Cannibals  in  Australia, 
and  the  Aborigines  of  Queensland.     1889. 

919.4L95 

See  "  Costume  "  in  index.     Wood-cuts  of  aboriginal  cos- 


Spencer,  W.  B.     Native  Tribes  of  Central  Australia. 
1899.  572S74N 

"  Clothing,  weapons,  implements,  decorative  art,"  pp. 
567-655.  Many  half-tones  and  wood-cuts  of  native  cos- 
tumes. 

—  Northern  Tribes  of  Central  Australia.     1904. 

572S74 

"  Clothing  and  ornament,"  pp.  683-95.  Half-tones  and 
cuts  of  dress. 

Thomas,    N.     W.     Natives    of    Australia.     1906. 

(Native  races  of  the  British  Empire.)      572T45N 

"  Dress,"  pp.  63-69.     Half-tone  ; 


Austria-Hungary 

An  Accurate  and  Impartial  Narrative  of  the  War, 
.  .  .  Comprising  the  Campaigns  of  1793,  1794, 
and  1795.     1796.  821A172 

Has  2  colored  plates  of  Hungarian  foot-soldiers. 

Alexander,  William.  Picturesque  Representations 
of  the  Dress  and  Manners  of  the  Austrians.     n.d. 

Ref.  391A37P 

50  colored  engravings,  with  descriptive  text. 

Bertrand  de  Moleville,  A.  F.  Costume  of  the  Hered- 
itary States  of  the  House  of  Austria.     1804. 

R391B55 

50  colored  engravings. 

Boner,  Charles.  Transylvania;  its  Products  and 
its  People.     1865.  914.39B71 

See  "  Costume  "  in  Index.    2  plates  (1  colored)  and  3  cuts 
of  costume. 

Colquhoun,  A.  R.  Whirlpool  of  Europe;  Austria- 
Hungary  and  the  Hapsburgs.     1907.       943.6C72 

About  40  half-tone  plates  of  costume,  especially  peasant 
costume. 

Egerton,  M.  M.,  Countess  of  Wilton.  Toilette  in 
Hungary.  (In  her  Book  of  Costume.  1847. 
pp.  355-59.)  Ref.  391W75 

2  wood-cuts. 

Eighty  Club.  Hungary:  its  people,  places,  and 
politics.     1907.     •  914.39F34 

8  half-tone  plates  of  national  costume,  peasant  and  official. 

Gerard,  E.  The  Land  beyond  the  Forest:  facts, 
figures,  and  fancies  from  Transylvania.  2  v. 
1888.  914.39G35 

See  "  Contents  "  of  each  volume.     6  photogravures  and 
15  wood-cuts  of  costume. 

Grohman,  W.  A.  Baillie.  The  Land  in  the  Moun- 
tains: past  and  present  of  Tyrol.     1907. 

943.7G87 

a  few  half-tone  plates  of  costume. 


BIBLIOGRAPHY 


Page  One  Hundred  Forty-seven 


Hering,  G.  E.  Sketches  on  the  Danube,  in  Hungary 
and  Transylvania.     1838.  R914.39H53 

Lithographic  illustrations,  from  drawings  by  the  author. 
No  text. 

Illustrirte  Geschiehte  der  K.  K.  Oesterreichischen 
Armee.     2  v.     1888.  G355I29 

62  colored  plates. 

Koppen,  F.  von.  Austria-Hungary.  (In  his  Armies 
of  Europe,  illustrated.     1890.     pp.  36-51.) 

355K77 

2  double  colored  plates   (12  illustrations,  including  1   of 
naval  uniforms)  and  4  text  illustrations  of  Austrian  uniforms. 

Kuhn,  Gen.  von.  Austro-Hungarian  Army.  (In 
Armies  of  To-day.     1893.     pp.  260-310.) 

35oM57 

13  cuts  of  uniforms. 

Mitton,  G.  E.     Austria.     1914.  914.36M68 

Colored  plates. 

IRossi,  Francesco.  Costume  Ancien  et  Moderne  des 
Hongrois.  (In  Ferrario,  G.  Costume.  1827. 
Europe,     v.  6  [v.  17].)  Ref.  391F37 

6  colored  copperplates  of  Hungarian  costumes,  from  Attila 
to  peasants  of  1825.     Plates  3  and  4  show  military  uniforms. 

Serres,  P.  M.  T.  de.     L'Autriche.     6  v.     1821. 

F914.36S48 

48    engravings,    representing    more    than    105    different 
characters. 

Shoberl,  Frederic.  World  in  Miniature.  Austria. 
2  V.     n.d.  Ref.  914.36S55 

32  colored  engravings. 

Smith,  F.  B.  Budapest;  the  city  of  the  Magj^ars. 
1903.  914.39S64 

Colored   plate   and   about   50   half-tone   illustrations    of 
Hungarian  costumes. 

Trollope,  Frances.  Vienna  and  the  Austrians.  2  v. 
1838.  914.36T84 

7  plates  of  costume. 

Uniforms  of  the  Six  Great  Powers  of  Europe.  (In 
Standard  Dictionary.     Sup.  1903.     p.  2187.) 

Ref.  423F98SU 

Section  of  colored  plates,  showing  14  Austrian  uniforms. 

Waring,  G.  E.  Tyrol  and  the  Spirit  of  the  Alps. 
1880.  914.37W27 

13  wood-cuts  of  costume. 

Aztec  Costume.    See  Indians  of  North  America 

Balkan  States 

Ashoth,  J.  de.  Official  Tour  through  Bosnia  and 
Herzegovina.     1890.  914.39A73 

16  wood-cuts.     Occasional  references  to  costume. 


Brailsford,  II.  N.  Macedonia:  its  races  and  their 
future.     1906.  914.96B814 

Several  half-tone  plates  of  costume. 

De  Windt,  Harry.     Through  Savage  Europe.     1907. 

914.97D52 

About  30  illustrations  of  costume. 

Durham,  M.  E.     Burden  of  the  Balkans.     1905. 

949.6D96 

12  illustrations  of  costumes  of  Albania  and  Montenegro. 
—  Through  the  Lands  of  the  Serb.     1904. 

914.97D96 

Illustrations  of  costumes  of  Albania,  Montenegro,  Servia. 

Evans,  A.  J.     Through  Bosnia  and  the  Herzegovina 

on  Foot.     2d  ed.     1877.  914.39E92 

Numerous  wood-cuts  and  scattered  references  on  dress. 

Fox,   Frank.     Bulgaria.     1915.  949.7F79 

25  colored  pictures  of  costume. 

Eraser,  J.  F.     Pictures  from  the  Balkans.     1906. 

914.96F84 

Colored  frontispiece   and   40  full-page   illustrations   from 
photographs. 

Henderson,  P.  E.  A  British  Officer  in  the  Balkans, 
1909.  914.36H49 

Herbert,  W.  von.     By-paths  in  the  Balkans.     1906. 

914.96H53 

"  Costumes  and  customs,"  pp.1133-46. 

Hering,  George.  Sketches  on  the  Danube,  in  Hun- 
gary and  Transylvania.     1838.  R914.39H53 

Lithographic  illustrations  from  drawings  by  the  author. 
No  text. 

Holbach,  M.  M.     Bosnia  and  Herzegovina.     1909. 

914.39H72 

Photographs  of  costume. 

Hutchinson,  F.  K.     Motoring  in  the  Balkans.     1909. 

914.36H97 

Numerous  illustrations  of  dresa,  reproduced  from  photo- 
graphs. 

Jackson,  F.  H.  The  Shores  of  the  Adriatic.  The 
Austrian  side:  the  Kiistenlande,  Istria,  and 
Dalmatia.     1908.  914.37J12 

32  half-tone  plates,  from  photographs;  many  line-draw- 
ings.    Consult  Index  under  "  costume." 

Koppen,  F.  von.  Turkey  and  the  States  of  the  Bal- 
kan Peninsula.  (In  his  Armies  of  Europe,  illus- 
trated.    1890.     pp.  73-78.)  355K77 

Colored  plates  of  uniforms  of  Servia  (5  figures) ;   Bulgaria 
(4  figures);    Roumania  (10  figures,  82  text  illustrations). 

Moore,  Frederick.     The  Balkan  Trail.     1906. 

9l"4.96M82 
Observer  in  the  Near  East.     1907.  949.7014 

About  30  plates  of  Balkan  costumes. 


Page  One  Hundred  Forty-eight 


BIBLIOGRAPHY 


Shoberl,  Frederic.  World  in  Miniature:  Illyria  and 
Dalmatia,  and  the  adjacent  countries.  2  v. 
1827.  Ref.  914.37S55 

32  colored  engravings  of  Balkan  costumes. 

Singleton,  Esther.  Turkey  and  the  Balkan  States, 
as  described  by  great  writers.     1908.         949.6S61 

49    half-tone    plates,    Bulgarians,    Servians,    Croatians, 
Albanians,   etc. 

Stratilesco,  Tereza.  From  Carpathian  to  Pindus: 
pictures  of  Roumanian  country  life.     1906. 

949.8S89 

"  CsstuTios,"  pp.  112-17.     Most  of  the  63  half-tone  plates 
show  costume. 

Wace,A.J.B.     The  Nomads  of  the  Balkans.     1914. 

914.96W11 

Chapter  IV:    "  The  Costumes  of.Samarina." 

Wyon,  Reginald.     The  Balkans  from  Within.     1904. 

914.97W99 
See  also  Turkish  Empire 

Bedoxhn  Costume.     See  Arab  Costume,  Egypt, 
Turkish  Empire 

Belgium 

Anderson,  Mrs.  Larz.     The  Spell  of  Belgium.     1915. 

914.93A54 

Colored  plates. 

Boulger,  D.  C.  Belgian  Life  in  Town  and  Country. 
1904.  914.93B76 

4  half-tones  of  costume. 

Edwards,  G.  W.     Some  Old  Flemish  Towns.     1911. 

914.93E26 

Colored  illustrations,  and  others. 

Holland,    Clive.     The    Belgians    at    Home.     1911, 

914.93H73 

Colored  illustrations,  and  others. 

Koppen,  F.  von.  Holland  and  Belgium.  (In  his 
Armies  of  Europe.     1890.     pp.  70-72.)      355K77 

Colored  plate  (9  figures)  and  2  text  illustrations  of  Belgian 
uniforms. 

Omond,  G.  W.     Belgium.     1908.  949.3056B 

Colored  illustrations. 

—  Bruges  and  W^est  Flanders.  Painted  by  Am^d^e 
Forestier.     1906.  914.93056 

13  colored  plates  of  Flemish  costume. 

Shoberl,  Frederic.  World  in  Miniature.  The 
Netherlands,     n.d.  Ref.  914.92S55 

18  colored  engravings  of  Dutch  and  Belgian  costume. 

Bohemia.     See  Austria-Hungary 
Bosnia.    See  Baijcan  States 


Bridal  Costume 

Aria,  Mrs.  E.     Of  ceremonial  and  bridal  dress.     (In 
her  Costume.     1906.     pp.  211-24.)  391 A69 

Hutchinson,  H.   N.     Marriage   Customs   in   Many 
Lands.     1897.  392H97 

Cuts  of  bridal  and  other  wedding  costumes. 

Miln,  Mrs.  L.  J.     Wooings  and  Weddings.     1900. 

392M65 

Brittany.     See  France 


Brooklyn 

Vanderhilt,    G.    L.     Dress    of 
Social  history  of  Flatbush. 


Flatbush.     (In    her 
1881.     pp.  127-48.) 
974.72V22 


Bulgaria.     See  Balkan  States 
Burma.     See  India 

Canada 
Campbell,  W.  W.     Canada.     1907.  917.1C19 

Colored  plates. 

Hind,  H.  V.  Explorations  in  the  Interior  of  Lab- 
rador.    2  V.     1863.  917.19H66 

Chromo-lithographs     and     wood-cuts     of     traprcns     and 
Indians. 

—  Narrative  of  the  Canadian  Red  River  Exploring 
Expedition  of  1857  and  of  the  Assiniboine  and 
Saskatchewan  Exploring  Expedition  of  1858. 
2  V.     1860.  917.1H66 

Chromo-lithographs  and  wood-cuts  of  Canadian  Indians 
and  their  costume,     (v.  2). 

Caricatures  and  Caricaturists 

Under  this  heading  will  bs  found  such  works  as  arc  related  to  the 
general  subject  of  Costume 

Arnoux,  C.  A.  d'  {Bertall,  pseud).  La  Comcdie  de 
Notre  Temps.  La  civilite — les  habitudes — les 
maeurs — les  coutumes — les  manieres — et  les  man- 
ies  de  notre  epoque.     2d  ed.     2  vols.     1874. 

Ref.  741A76 

Pencil  and  pen  studies  by  Bertall. 

Boyd,  A.  S.  Glasgow  Men  and  Women,  Their 
Children,  and  Some  Strangers  within  their  Gates. 
1905.  Ref.  741B78 

A  selection  from  the  sketches  of  Twym. 

Brinton,  S.  The  Eighteenth  Century  in  English 
Caricature.     1904.  741B85 

16    illustrations    bj'    Bunbury,    Hogarth,  Gillray,    and 
Rowlandson.     2  colored  prints. 


BIBLIOGRAPHY 


Page  One  Hundred  Forty-nine 


Carleton,  G.  W.     Our  Artist  in  Cuba.     1865. 

741C28 

Leaves  from  the  sketch-book  of  a  traveller  during  the 
winter  of  1864-5.     50  drawings  on  wood. 


Our  Artist  in  Peru.     1866. 


741C280 


Leaves  from  the  sketch-book  of  a  traveller  during  the 
winter  of  18lJo-(j.     50  drawings  on  wood. 

Cary,  E.  L.     Honore  Daumier.     A  collection  of  his 

social  and  political  caricatures,  together  with  an 

introductory  essay  on  his  art.     1907.  741C33 

76  full-page  illustrations,  depicting  types  in  France  about 
the  year  18i0. 

Ckesson,  W.  H.     George  Cruikshank.     n.d. 

BC955C 

55  illustrations  from  his  drawings,  in  the  order  of  their 
date  of  publication. 

Cruikshank,  G.  Bachelor's  own  Book;  or,  the 
Progress  of  Mr.  Lambkin  (Gent.)  in  the  pursuit 
of  pleasure  and  amusement,  and  also  in  search  of 
health  and  happiness.     1844.  741C955B 

—  George  Cruikshank's  Omnibus.  Ed.  by  Laman 
Blanchard,    Esq.     1869.  820.8C95 

Illustrated  with  100  engravings  on  steel  and  wood. 

—  Cruikshank's  Water  Colors.  With  an  introduc- 
tion by  Joseph  Grego.     1903.  741C955 

6S  illustrations  in  color,  illustrating  Dickens'  "  Oliver 
Twist,"  Ainsworth's  "  The  Miser's  Daughter,"  Maxwell's 
"  History  of  the  Irish  Rebellion  in  1798,"  and  Emmett's 
"  Insurrection  in  1803." 

Currier  and  Ives.  Caricatures  Pertaining  to  the 
Civil  War;  reproduced  from  a  private  collection 
of  originals.     1892.  Ref.  741C97 

Dore,  P.  G.  Two  Hundred  Sketches,  Humorous 
and   Grotesque.     1867.  Ref.  741D69 

86  pages,  containing  caricatures,  chiefly  of  the  French 
and  E[uglish. 

Du  Maurier,  G.  Pictures  of  English  Society,  from 
"Punch."     1884.  827D88P 

41  illustrations  of  English  society. 

—  Social  Pictorial  Satire :  reminiscences  and  appre- 
ciations of  English  illustrators  of  the  past  gen- 
eration.    1898.  741D88S 

23  illustrations. 
Everitt,  G.     English  Caricaturists  and  Graphic  Hu- 
morists of  the  19th  Century:  how  they  illustrated 
and    interpreted    their    times.     1893.         741E93 

Many  wood-cuts. 

Furniss,  H.  Confessions  of  a  Caricaturist.  2  vols. 
1902.  BF989 

Autobiography  of  Harry  Furniss,  with  many  illustrations 
from  his  sketches  of  English  life. 

—  Harry  Furniss  at  Home.  Written  and  illustrated 
by  himself.     1904.  BF989H 


Furniss,  H.      Pen  and  Pencil  in  Parliament.      1897. 

741F98 

Illustrated  by  the  author. 

Gillray,  James.  Works  of  James  Gillray,  the  Cari- 
caturist, with  the  Story  of  his  Life  and  Times. 
Edited  by  Thomas  Wright,    n.d.       Ref.  741G48 

Grego,  Joseph.  Rowlandson,  the  Caricaturist.  A 
selection  from  his  works,  and  a  sketch  of  his  life. 
2  vols.     1880.  Ref.  741G81R 

400      illustrations.     Wood-cuts.     Political      and      social 
caricatures  of  his  period. 

Hammerton,  J.  A.     Humorists  of  the  Pencil.     1905. 

741H22 

80  illustrations  by  the  leading  humorous  artists  of  the  day. 

Jerrold,  Blanchard.  Life  of  George  Cruikshank,  in 
two  epochs.     2  vols.     1882.  BC955J 

Numerous  illustrations. 

Kay,  John.  A  Series  of  Original  Portraits  and 
Caricature  Etchings.  With  biographical  sketches 
and  illustrative  anecdotes.     2  vols.     1877. 

Ref.  741K23S 

361  portraits,  drawn  and  engraved  by  John  Kay  during  the 
latter  part  of  the  18th  century. 

Parton,  James.  Caricature  and  Other  Comic  Art 
in  all  Times  and  Many  Lands.     1877.         741P27 

203    illustrations    in    caricature    from    the    time    of    the 
Romans  to  the  present  day. 

Paston,  George.  Social  Caricature  in  the  Eighteenth 
Century.     1905.  Ref.  741P29 

Over  200  illustrations. 

Stephens,  F.  G.  Memoir  of  George  Cruikshank. 
1891.  BC955S 

44  illustrations  from  his  drawings.     Frontispiece  portrait. 

Thackeray,  W.  M.  On  the  Genius  of  George  Cruik- 
shank. Reprinted  verbatim  from  "  The  West- 
minster Review."     1884.  BC955T 

With  upwards  of  40  illustrations,  including  all  the  original 
wood-cuts. 

Carthage.     See  Africa 

Central  America 
Davis,   R.   H.     Three    Gringos   in    Venezuela   and 
Central  America.     1896.  918.7D26 

3  plates  of  costume. 

Putnam,  G.  P.  The  Southland  of  North  America. 
1913.  917.28P99 

Illustrations  from  photographs. 

Central  Asia 
Hedin,  S.  A.     Scientific  Results  of  a  Journey  in 
Central  Asia,  1899-1902.     6  vols.     1904-07. 

Ref,  508H45 

Vol.  VI,  Part  III,  has  many  illustrations  of  racial  types 
from  western  and  central  Asia. 


Page  One  Hundred  Fifty 


BIBLIOGRAPHY 


Ceylon 

Campbell,    James.     Excursions,    Adventures,    and 
Field-sports  in  Ceylon.     2  v.     1843.       91.5.4C188 

Dress,  v.  1,  pp    405-07.     8  colored  plates  of  natives,  and 
7  other  plates  of  costume. 

Cave,  H.  W.     The  Book  of  Ceylon.     1908. 

915.4C37B 

Illustrations  from  photographs. 
—  Golden  Tips :    a  description  of  Ceylon  and  its 
great  tea  industry.     1900.  915.4C37G 

See  "Costume"   in  Index.     Several  half-tone  plates  of 
costume. 

Corner,  Caroline.     Ceylon.     1908.  915.4C81 

See  also  India 

Children 

Auker,  A.,  and  others.     Child-life  in  Pictures.     1876. 

Ref.  7o9A61 

Heliotypes    of    paintings,    from    Corregio    to    late    18th 
century. 

Boughton,  G.  H.     Sketching  Rambles  in  Holland. 
1885.  914.92B75 

Includes  several  wood-cuts  of  Dutch  children. 

Bryson,  Mrs.  M.  I.     Child  Life  in  China.     1900. 

8  illustrations  of  Chinese  dress.  915.1B91 

Earle,  A.  M.     Child  Life  in  Colonial  Days.     1899. 

390E12 

"  Children's   dress,"    pp.  31-62.     Half-tone  illustrations 
from  photographs. 

Greenaway,Kate.      (Various  Elustrated  Children's 

Books.) 
Kidd,  Dudley.    Savage  Childhood.    1906.     572K46 

32  half-tone  plates  of  Kafir  children. 

Marston,A.W.   Children  of  Lidia.     n.d.    915.4M37 

Several  wood-cuts  of  children. 

Menpes,  Dorothy.   World's  Children.   1903.   390M54 
100  colored  plates,  by  Mortimer  Menpes. 

Merrifield,  Mrs.  M.  P.     Dress  as  a  Fine  Art;   with 
suggestions  on  children's  dress.     1854.       391M56 

Miln,  Louise.     Little  Folk  of  Many   Lands.     1899. 

910M65 

Numerous  references  in  text.     About  50  half-tone  plates 
of  children. 

Peary,  R.  E.     Northward  over  the  Great  Ice.     2  v. 
1898.  919.8P362 

Includes  several  illustrations  of  Eskimo  children. 

Schwatka,  Frederick.     Children  of  the  Cold.     1899. 

919.8S41C 

"  How  their  clothes  are  made,"   pp.   171-74.     Half-tone 
and  wood-cut  plates  of  Eskimo  children. 


Spielman,  M.  H.    Kate  Greenaway.    1905.    BG798S 

53  colored  plates  and  many  sketches  in  black  and  white; 
nearly  all  of  children. 

Wright,    H.    M.     Handbook    of    the    Philippines. 
1907.  '  919.1W94 

Includes  several  half-tone  plates  of  Filipino  children. 


Chile 

Schmidtmeyer,  Peter.  Travels  into  Chile,  in  the 
Years  1820  and  1821.     1824.  Ref.  914S45 

30  plates  (11  colored)  of  Spanish  and  Indian  costumes  of 
Chile. 

China 

Alexander,  William.  Picturesque  Representations 
of  the  Dress  and  Manners  of  the  Chinese,     n.d. 

Ref.  391A37 

50  colored  engravings,  with  descriptive  text. 

Breton  de  la  Martiniere,  J.  B.  J.  China:  its  cos- 
tume, arts,  manufactures,  etc.     4  v.  in  2.     1824. 

Ref.  915.1B84 

About  80  colored  engravings  of  costumes  of  China,  Tar- 
tary,  and  Thibet. 

Browne,  G.  W.  China.  (In  his  New  America  and 
the  Far  East.     1907.     v.  4-5.)  910B882 

13  plates  (3  colored)  and  numerous  cuts  of  costume. 

Bryson,  Mrs.  M.  I.     Child  Life  in  China.     1900. 

915.1B91 

Several  illustrations  of  costume. 

Carruthers,  A.  D.  M.     Unknown  Mongolia.     2  v. 

915.1C31 

China  in  Miniature.  Containing  illustrations  of 
the  manners,  customs,  character,  and  costumes  of 
the  people  of  that  empire.     1833.         915.1C539 

16  colored  engravings. 

Chitty,  J.  R.     Things  Seen  in  China.     1909. 

915.1C543 

50  half-tone  illustrations. 

Doolittle,  Justus.  Social  Life  of  the  Chinese.  2  v. 
1865.  915.1D69 

150  illustrations,  wood-cuts,  many  showing  costume. 

Egerton,  M.  M.,  Countess  of  Wilton.  Toilette  in 
China.  (In  her  Book  of  Costume.  1847.  pp. 
457-64.)  Ref.  391W75 

6  wood-cuts. 

Eyries,  J.  B.  B.     La  Chine:   ou  Costumes,  moeurs, 
et    usages    des    Chinois.     (In    his    L'Angleterre. 
.d.)  Ref.  F391E98 

Illustrated  by  colored  plates. 


BIBLIOGRAPHY 


Page  One  Hundred  Fifty-one 


Ferrario,  Giulio.  Costume  Ancien  et  Moderne  des 
Chinois.  (In  his  Costume.  1815.  Asie.  v.  1. 
[v.  1.]     pp.  37-366.)  Ref.  391F37 

Over  20  colored  copperplates  of  costumes  of  China  and 
Formosa. 

Hardy,  E.  J.     John  Chinaman  at  Home.     1905. 

915.1H26 

7  plates  (half-tones)  of  costume,  pp.  91,  130-37. 

Hawks,  F.  L.  Narrative  of  the  Expedition  of  an 
American  Squadron  to  the  China  Seas  and  Japan, 
1852,  1853,  and  1854,  under  Commodore  M.  C. 
Perry,     v.  1.     1856.  Ref.  915.2U58 

Lithographs    and    wood-cuts   of   Chinese    and    Japanese 
costume. 

Kemp,  E.G.     The  Face  of  China.     1909.     915.1K32 

A  few  colored  plates. 

Little,  Mrs.  Archibald.  Round  about  My  Peking 
Garden.     2d  ed.     1905.  915.1L77R 

"  Official    and    rank    distinctions,"    pp.    60-72.     Several 
half-tones  and  one  colored  plate  of  costume. 

McNabb,  R.  L.  Women  of  the  Middle  Kingdom. 
1903.  915.1M16 

"  Dress,"  etc.,  pp.  25-33.     10  of  the  18  half-tones  show 
costume. 

Martin,  W.  H.  P.     Awakening  of  China.     1907. 

951M38A 

Several  plates  of  costume. 

Mason,  G.  H.  Costume  of  China;  illustrated  by 
sixty  engravings  [colored],  with  explanations  in 
English  and  French.     1804.  Ref.  391M39 

Contains  colored  plates. 

915.1B63 


Menpes,  Mortimer.     China.     1909. 

Colored  illustrations  in  addition  to  64  facsimile  reproduc- 
tions in  black-and-white. 

Milne,  Mrs.  Leslie.    The  Shans  at  Home.     1910. 

915.9M65 

Many  photographs. 

Norman,  Henry.    Peoples  and  Politics  of  the  Far 
East.     1895.  915N54 

Half-tone  cuts  of  Chinese  dress. 

—  Same.     1904. 

Penfiekl,    F.    C.    East   of   Suez.     (Ceylon,   India, 
China,  and  Japan.)     1906.  915P39 

Several  plates  of  Chinese  costume. 

Ralph,  Julian.    Alone  in  China.     1898.     915.1R16 

Several  of  the  illustrations  show  costume. 

Shoberl,    Frederic.     World    in    Miniature.     China. 
2  V.     1827.  Ref.  915.1S559C 

30  colored  engravings,  with  descriptive  text. 


Thomson,  John.  Illustrations  of  China  and  its 
People.     1873.  Ref.  915.1T481 

200  photographs,  with  descriptive  letter-press. 

See  also  Japan 

Colonial  Costume.    See  United  States 

CoREA.     See  Korea 

Corsica.     See  France 

Costume  (In  Poetry) 

Fairholt,  F.  W.  Satirical  Songs  and  Poems  on  Cos- 
tume, from  the  13th  to  the  19th  Century.  (Percy 
Society.  Early  English  poetry.  1840-52.  v. 
27.)  *  820.8P43 

Cuba 

Browne,  G.  W.     Cuba.     (In  his  New  America  and 
the  Far  East.     v.  6.     1907.)  910B882 

3  plates  and  several  cuts  of  costume. 

Olivares,  Jose  de,  and  others.  Cuba.  (In  Bryan, 
W.  S.  Our  Islands  and  Their  People.  1899. 
V.  1.     pp.  9-256.)  Ref.  917.29B91 

Half-tone  and  colored  illustrations,  showing  costume. 

Denmark 

Belin.  Prime  du  Journal  les  Modes  Parisiennes. 
Costumes  de  Suede,  Norv^ge,  Danemark,  Hol- 
lande,  et  AUemagne.     n.d.  RF391B43 

No  text. 

Butlin,  F.  M.    Among  the  Danes.     1909.   914.8B98 

Illustrations  in  color  and  in  monotone. 

Colored  Costume  Plates.  A  series  of  19  fine  and 
characteristic  illustrations  of  the  costumes  of 
Denmark.     .?1810.  R391C71 

Each  plate  has  a  short  description  in  Danish  and  German. 

Egerton,  M.  M.,  Countess  of  Wilton.  Toilette  in 
Denmark.  (In  her  Book  of  Costume.  1847. 
pp.  352-54.)  Ref.  391W75 

2  wood-cuts. 

European  Delineator.  Containing  brief  but  inter- 
esting descriptions  of  Russia,  Sweden,  Denmark, 
Norway,  etc.     1815.  R914E89D 

Koppen,  F.  von.  Denmark.  (In  his  Armies  of 
Europe.     1890.     pp.  59-60.)  355K77 

Colored  plate  (8  figures)  and  2  text  illustrations  of  uni- 
forms. 

Meyrick,  S.  R.  Costume  of  the  Original  Inhabitants 
of  the  British  Islands.     1821.  Ref.  391M61 

Includes  colored  plate  of  2  ancient  Danish  costumes. 


Page  One  Hundred  Fifty-two 


BIBLIOGRAPHY 


Dutch  Costume.    See  Netherlands 

Egypt 

Clark,  E.  L.  Daleth;  or,  The  Homestead  of  the 
Nations.     1864.  916.2C59 

Reproductions   (some  colored)   of  ancient  Egyptian  art, 
showing  costume. 

Curtis,  W.  E.  Egypt.  (In  his  Egypt,  Burma,  and 
British  Malaysia.     1905.     pp.  11-222.)     910C98 

8  half-tone  plates  of  modern  Arab,  Bedouin,  and  Egyptian 
costume. 

Davis,  R.  H.  Cairo  [and]  the  Englishmen  in  Egypt. 
(In  his  Rulers  of  the  Mediterranean.  1894. 
pp.  102-77.)  910D26R 

Notes   on   costume  and   10  plates   and   cuts   of  modern 
Egyptian  dress  and  uniforms. 

Ferrario,  Giulio,  and  others.  Egypte  Ancienne  et 
Moderne.  (In  his  Costume.  1815-29.  Afrique. 
V.  1.     pp.  26-247.)  Ref.  F391F37 

Colored  copperplates  of  ancient  and   modern  Egyptian 
costumes. 

Hope,  Thomas.  Costume  of  the  Egyptians.  (In 
his  Costume  of  the  Ancients.  1841.  v.  1. 
pp.  1-9.     pi.  1-11.)  Ref.  391H79 

Outline  illustrations  of  male  and  female  costume. 

Kelly,  R.  T.    Egypt.     1902.  916.2K29 

7  plates  of  costume. 

Lane,  E.  W.  Account  of  the  Manners  and  Customs 
of  the  Modern  Egyptians.  From  the  3d  ed. 
3  V.  in  1.     1846.  916.2L26Ac 

Personal   characteristics  and  dress,   pp.  49-80.     Female 
ornaments,  pp.  211-28.     Many  wood-cuts. 


Same.     5th  ed.     2 


1871. 


916.2L26A2 


Personal  characteristics,  v.  1,  pp.  31-64.     Female  orna- 
ments, V.  2,  pp.  312-24.     Same  cuts  as  earlier  edition. 

Maspero,  G.     Life  in  Ancient  Egypt  and  Assyria. 
1892.  913M41 

Outline  cuts  from  Egyptian  monuments. 


Mayer,  Luigi.     Views  in  Egypt.     1801. 


R916.2M46 


48  colored  plates. 


Pdrie,  W.  M.  F.    Arts  and  Crafts  of  Ancient  Egypt. 
1909.  709P49 

Photographs  of  jewellery,  personages,  etc. 

Salmon,  P.  R.     The  Wonderland  of  Egypt.     1915. 

916.2S17 

Thackeray,  Lance.    The  People  of  Egypt.     1910. 

916.2T36 

32  colored  plates;  also  37  illustrations  in  black-and-white. 


Wilkinson,  Sir  J.  G.  Egyptians  in  the  Time  of  the 
Pharaohs.  Crystal  Palace  Egyptian  collections. 
1857.  932W68E 

"  Dress,"  pp.  32-43.    2  colored  plates  of  textiles  and  mar.y 
wood-cuts  of  costume. 

—  Manners  and  Customs  of  the  Ancient  Egyptians. 
Rev.  ed.     3  v.     1878.  932\V68 

See  "  Dress  "  in  index,  v.  3. — Plates  (2  colored)  and  wood- 
cuts of  costumes. 

—  Popular  Account  of  the  Ancient  Egyptians.  2  v. 
1854.  932W68P 

See  "  Dress  "  in  index,  v.  2.     Many  wood-cuts. 

England 

Andrews,  Alexander.  Eighteenth  Century;  or,  Illus- 
trations of  the  manners  and  customs  of  our 
grandfathers.     1856.  914.2A56 

"  Costume,"  pp.  20-40. 

Ashhee,  C.  R.  The  Masque  of  the  Edwards  of 
England;  being  a  coronation  pageant  to  celebrate 
the  crowning  of  the  King.     1902.      Ref.  822A81 

Large  folio  illustrated,  printed  in  colors. 

Ashdown,  Mrs.  C.  H.  British  Costume  during 
Nineteen  Centuries  (civil  and  ecclesiastical). 
1910.  391A82 

450  engravings,  110  plates,  and  9  colored  reproductions. 

Ashton,  John.  Dawn  of  the  19th  Century  in  Eng- 
land.    2  V.     1886.  942A82D2 

Men's  dress,  v.  2,  chap.  30-31.     Ladies'  dress,  v.  2,  chap. 
31.     Numerous  caricatures  from  contemporary  engravings. 

—  Social  England  under  the  Regency.     2  v.     1890. 

914.2A82S2 

Numerous  outline  cuts  and  7  plates  of  costume,  1811-20. 

—  Same.     1899. 

—  Social  Life  in  the  Reign  of  Queen  Anne.     1897. 

390A82 

Wood-cuts  of  costumes. 

Barfield,  T.  C.  Longmans'  Historical  Illustrations 
—England  in  the  Middle  Ages.     1909-10. 

R723B24 

72  plates,  with  explanatory  text,  showing  examples  of 
architecture  and  costume  from  the  11th  to  the  loth  century. 

Barnard,  F.  P.  Costume,  Military  and  Civil.  (In 
his  Companion  to  English  History.  Middle  Ages. 
1902.     pp.  90-115.)  Ref.  942B25 

Wood-cuts.     Bibliography. 


Benham,  William.     Tower  of  London. 


1906. 

942B46 

3  half-tone  and  3  colored  plates  of  costume  before  16th 
century. 


BIBLIOGRAPHY 


Page  One  Hundred  Fifty-three 


Besant,  Sir  Walter.  London  in  the  18th  Century. 
1903.  *  942.1B55 

"  Dress,"  chap.  4,  pp.  250-62.  Half-tones,  from  con- 
temporary, sources,  of  costumes. 

—  London  in  the  Time  of  the  Stuarts.     1903. 

*  942.1B55L 

"  Dress  and  manners,"  "  weddings  and  funerals,"  pp. 
298-310;  "  sports  and  amusements,"  pp.  328-337.  Half- 
tones from  contemporary  sources. 

—  London  in  the  Time  of  the  Tudors.     1904. 

*  942.lBo5Lo 

"  Dress,  Weddings,"  pp.  303-15;  "  soldiers,"  pp.  316-22; 
"  prentice,"  p.  329.  Numerous  half-tones,  mostly  from 
contemporary  sources. 

—  Mediaeval  Ixjndon.     2  v.     1906.      *  942.1B55M 

Half-tones  from  contemporary  sources. 

Boullon,  W.  B.  Amusements  of  Old  London.  2  v. 
1901.  790B76 

Includes  colored  plates  showing  costumes. 

Brinton,  S.  Eighteenth  Century  in  EngHsh  Cari- 
cature.    1904.  741B85 

2  color-prints,  13  half-tones,  of  illustrations  by  Bunbury, 
Hogarth,  Rowlandson,  Gillray. 

Burges,   William.     Architectural  Drawings.     1870. 

R744B95 

Plates  70-74  exhibit  male,  female,  military,  and  ecclesi- 
astical costumes,  from  Anglo-Saxon  times  to  the  late  loth 
century. 

Calthorp,  D.  C.  English  Costume  Painted  and 
Described.     4  v.     1906.  391C16 

V.  1,  Early  English;  v.  2,  Middle  Ages;  v.  3,  Tudor  and 
Stuart;  v.  4,  Georgian.  Civil  costume  only.  72  colored 
plates  and  numerous  wood-cuts. 

Carter,  John.  Specimens  of  the  Ancient  Sculpture 
and  Painting  in  this  Kingdom,  from  the  Earliest 
Period  to  Henry  VIII.     2  v.     1786. 

Ref.  709C32 

Many  of  the  120  engraved  plates  show  costume. 

—  Same.     Reprinted.     1887. 

Clark,  J.  C.  The  Characters  of  Charles  Dickens, 
Portrayed  in  a  series  of  Original  Water  Color 
Sketches.     .?1898.    '  *  823Co9 

21  plates. 

Clinch,  G.  English  Costume  from  Prehistoric  Times 
to  the  End  of  the  18th  Century,     n.d.     391C64 

Cook,  C.  C.  Costumes  of  the  Time  of  the  French 
Revolution,  1790-1793;  together  with  English 
costumes,  1795-1806.  Drawn  from  the  collection 
of  Victorien  Sardou.     1889.  391G95 

65  etchings,  executed  by  Guillaumot  fils,  colored  by  hand. 
40  of  French,  25  of  English  costume. 

Costumes  of  the  University  of  Cambridge,     n.d. 

R378C84 

24  colored  illustrations,  on  one  plate,  showing  the  costumes 
worn  in  the  dififerent  colleges  of  the  University. 


Couts,  Joseph.  Practical  Guide  for  the  Tailor's 
Cutting-room.     1848.  687C87 

The  Cries  of  London,  as  they  are  Daily  Exhibited  in 
the  Streets.     1804.  Ref.  821C92 

Embellished  with   48   elegant   characteristic   engravings, 
colored. 

Dallaway,  James.  Inquiries  into  the  Origin  and 
Progress  of  the  Science  of  Heraldry  in  England. 
1793.  Ref.  929.6D11 

12  plates  (5  colored)  and  1  text  illustration  of  early  English 
costume. 

Davenport,  Cyril.    English  Regalia.    1897.    391D247 

Colored  plates. 

Davey,  Richard.     Pageant  of  London.     2  v.     1906. 

942.1D248 

See  "  Dress  "  in  index. 

Davies,  R.  English  Society  of  the  Eighteenth 
Century  in  Contemporary  Art.     1907.       759D25 

4  illustrations  in  color  and  33  in  monochrome. 

Dawson,  Thomas.  Memoirs  of  St.  George  and  the 
Order  of  the  Garter.     1714.  Ref.  929.7D27 

Engraving   of   George    I,   and   extra   illustration   of   the 
regalia. 

Day,  T.  A.  Illustrations  of  Mediaeval  Costume  in 
England.     1853.  R391D27 

Colored  plates. 

Doran,  J.     London  in  Jacobite  Times.     2  v.     n.d. 

942.1D69 

Plates  of  dress  of  the  period. 

Druitt,  H.  Manual  of  Costume,  as  Illustrated  by 
Monumental  Brasses.     1906.  391 D79 

110  half-tone   illustrations  of  English  armor  and  dress 
of  14th  and  15th  centuries. 

Dryden,  Alice.  The  Art  of  Hunting;  or.  Three 
Hunting  MSS.  799D799 

Co.stume,   pp.   89-101,   covers  period  from   13th  to  17th 
centuries.     A  few  wood-cuts. 

Dugdale,  Sir  William.  Antiquities  of  Warwickshire. 
1656.  Ref.  913D86 

Some  of  the  illustrations  show  dress. 

Du  Maurier,  George.     English  Society.     1897. 

Ref.  741D88E 

89  plates,  with  an  introduction  by  W.  D.  Howells. 

—  English  Society  at  Home.     1880.      Ref.  741D88 

63  of  Du  Maurier's  contributions  to  Punch,  engraved  by 
Joseph  Swain,  and  printed  on  India  paper. 

Eccleston,  James.  Introduction  to  English  Antiqui- 
ties.    1847.  913E17 

See  "  Costume  "  and  "  Armor  "  in  index.     Outline  cuts 
of  English  costume  to  about  1660. 


Page  One  Hundred  Fifty -four 


BIBLIOGRAPHY 


Egan,  Pierce.  Tom  &  Jerry:  Life  in  London;  or. 
The  day  and  night  scenes  of  Jerry  Hawthorn  and 
Corinthian  Tom.     [Reprint,  n.d.]  8^27E28T 

Colored  plates,  by  I.  R.  and  G.  Cruikshank,  of  early  19th 
century  costumes. 

Egerton,  M.  M.,  Countess  of  Wilton.  Toilette  in 
England.  (In  her  Book  of  Costume.  1844. 
pp.  39-175.)  Ref.  391W75 

Numerous  wood-cuts. 

Eyriks,  J.  B.  B.  L'Angleterre,  ou  Costumes, 
Moeurs,  et  Usages  des  Anglais,     n.d. 

Ref.  F391E98 

Illustrated  by  colored  plates. 

Fairholt,  F.  W.  Costume  in  England;  a  history  of 
dress,  from  the  earliest  period  till  the  close  of  the 
18th  century.     1846.  391F17C 

About  600  wood-cuts. 

—  Same.  3d  ed.,  enl.  2  v.  1885.  (Bohn's  artists' 
library.)  391F17 

V.  1.    History;     v.    2,    Glossary.     About   700   wood-cuts. 
Bibliography  by  H.  A.  Dillon. 


—  SaTTie.     4th  ed.     2 


1896. 


Gardner,  J.  S.  Armor  in  England,  to  the  17th  Cen- 
tury.    1898.  399G22 

16  colored  plates  and  more  than  80  other  illustrations. 

Gihh,  William.  The  Royal  House  of  Stuart,  Illus- 
trated from  Relics  of  the  Stuarts.     1890. 

Ref.  920G43 

40  colored  plates,  many  showing  wearing  apparel. 

Godfrey,  Elizabeth.  Home  Life  under  the  Stuarts. 
1603-1649.     1903.  390G58 

"  Dress  and   fashion,"   chap.    17.     Illustrations  showing 
dress. 

—  Social  Life  under  the  Stuarts.     1904.     390G58S 

18  plates,  engravings  and  half-tones. 

Gronoio,  R.  H.  Reminiscences  and  Recollections  of 
Capt.  Gronow,  1810-60.     2  v.     1889. 

*  920G876R 

2.5  etched  and  aquatint  illustrations,  with  hand-colored 
duplicates. 

Guillaumot,  A.  E.  Costumes  of  the  Time  of  the 
French  Revolution,  1790-1793.  Together  with 
Engli.sh  costumes  during  the  years  1795-1806. 
1889.  R391G95 

Plates,  colored  by  hand. 

Haines,  Herbert.  Manual  of  Monumental  Brasses. 
2  V.     1861.  739H15 

200  wood-cuts  of  costumes,  14th-17th  century. 

Hall,  Hubert.  Society  in  the  Elizabethan  Age. 
1886.  942H17SO 

From   contemporary  documents.     Wood-cuts   of   Henry 
VIII  and  Queen  Elizabeth. 


Hardie,  Martin.  John  Pettie,  R.A„  F.R.S.A 
1908.  BP511H 

50  illustrations  in  color,  many  of  use  for  Scottish  and 
English  costume. 

Harris,  M.  D.     Life  in  an  Old  English  Town.     1898. 

942.4H31 

2  plates  of  dress. 

Haweis,  M.  E.     Chaucer  for  Children.     1900. 

J821C496H 

Wood-cuts  of  early  English  costumes. 
Hill,   Georgiana.     History  of  English  Dress,   from 
the   Saxon   Period   to   the    Present   Day.     2   v. 
1893.  391H64 

13  engravings,  with  descriptive  notes. 

Hodgetts,  J.  F.  The  English  in  the  Middle  Ages, 
from  the  Norman  Usurpation  to  the  Days  of  the 
Stuarts.     1885.  914.2H68 

Armor,  pp.  111-43;  civil  dress,  pp.  147-75. 

Holbein,  Hans,  the  Younger.  Portraits  of  Illustrious 
Personages  of  the  Court  of  Henry  VIII.     1828. 

Ref.  769H72 

Contemporary  costume. 

Holt,  E.  S.  Ye  Olden  Time;  English  customs  in 
the  Middle  Ages.     1884.  914.2H75 

Clothing,  pp.  72-98.     Frontispiece,  costumes  of  Henry  IV. 

Hughes,    Talbot.     Dress    Design.     1913.       646H89 

Illustrated    from    old    examples.     Includes    35    pages    of 
collotypes. 

—  Old  English  Costumes,  18th-19th  Centuries. 
.?1913.  391H89 

Colored  plates. 

Jerrold,  Douglas,  and  others.  Heads  of  the  People; 
or.  Portraits  of  the  English.  Drawn  by  Kenny 
Meadows.     2  v.     1st  pub.     1838-40.     827J563H 

Characteristic  pictorial  sketches  from  every  grade  of  life. 

Jewitt,  Llewellynn.  Half -hours  among  Some  English 
Antiquities.     1877.  913J59 

Among  arms   and   armor,  pp.   102-13;    among  personal 
ornaments,  pp.  203-33.     Outline  illustrations. 

—  Same.     Rev.  and  enl.  ed.     1880. 

Jusserand,  J.  J.  English  Wayfaring  lafe  in  the 
Middle  Ages.     2d  ed.     1889.  914.2J96 

Many  cuts,  from  contemporary  sources,  of  14th  century 
costumes. 

Knight,  Charles.     London.     6  v.     1841.     942.1K69 

See  analytic  contents  to  each  vol.     Many  wood-cuts  of 
costumes  of  all  periods. 

—  Same.     6  v.  in  3.     1851.  942.1K69L3 


1851. 
2  V.     1845. 


R913.42K69 


—  Old  England. 

Colored  plates. 

—  Popular  History  of  England.     8  v.     Lond.  1858. 

See  "  Costume  "  in  indexes  of  v.  4  and  8.     Numerous 
wood-cuts. 


BIBLIOGRAPHY 


Page  One  Hundred  Fifty-five 


Lamed,  J.N.    History  of  England.     1900.     942L32 

Several  cuts  of  typical  costumes. 

Legg,  L.  G.  W.     English  Coronation  Records.     1901. 

Ref.  3941.51 

17  illustrations  (1  colored)  of  early  coronation  scenes,  from 
contemporary    sources. 

Lennox,  Lord  W.  P.  Fashion  Then  and  Now.  2  v. 
1878.  3901.56 

Many  scattered  notes  on  18th  and  19th  century  dress. 

Levati,  Ambrogio.  Costume  des  Habitans  des  lies 
Britanniques.  (In  Ferrario,  G.  Costume.  1827. 
Europe,     v.  6  [v.  17].)  Ref.  391F37 

20  of  the  31  colcn-ed  copperplates  show  costume  from  pre- 
Roman  period  to  19th  century. 

Loftie,  W.  J.  Kensington;  picturesque  and  histori- 
cal.    1888.  942.1L82K 

6  of  the  colored  plates  show  18th  century  costume. 

London  Society  of  Antiquaries.  Vetusta  Monu- 
menta.     6  v.     1747-1842.  Ref.  913L84 

Nearly  100  of  the  320  copperplates  (including  28  colored) 
include  costume  to  time  of  Elizabeth.  Elizabeth's  funeral 
procession  (v.  3)  and  the  Bayeux  tapestry  (v.  6,  colored) 
are  given  entire. 

MacJclin,  H.  W.    Brasses  of  England.     1907. 

739M15B 

Numerous  cuts  of  costume  and  armor,  1277-1C23.  Eccle- 
siastical dress. 


—  Monumental  Brasses.     1905. 


739M15 


Armor,    dress,    and    ecclesiastical   vestments,    13th-17th 
centuries.     Wood-cuts. 


Maclise,  Daniel. 
quest.     1866, 


The  Story  of  the  Norman  Con- 
Ref.  741M16 


42  illustrations  engraved  on  wood  under  Professor  Griiner, 
from  drawings  by  Maclise.  "  Coronation  of  Harold,"  and 
other  scenes,  showing  Saxon  and  Norman  costume. 

Malcolm,  J.  P.  Anecdotes  of  the  Manners  and  Cus- 
toms of  London  during  the  18th  Century.  2  v. 
1810.  *  914.21M24 

"  Anecdotes  of  dress  and  the  caprices  of  fashion,"  v.  2, 
pp.  312-57.     12  engravings  of  dress,  1G90-1807. 

—  Anecdotes  of  the  Manners  and  Customs  of 
London  from  the  Roman  Invasion  to  the  Year 
1700.     3  V.     1811.  *  914.21M24A 

"  Dress,"  v.  2,  pp.  279-341.  12  hand-colored  engravings 
of  dress,  1053-1675. 

Martin,  Charles.  Civil  Costume  of  England  from 
the  Conquest  to  the  Present  Time.     1842. 

391M37 

Series  of  colored  etchings. 

Meyrich,  S.  R.  Costume  of  the  Original  Inhabitants 
of  the  British  Islands  and  Adjacent  Coasts  of  the 
Baltic.     Imp.  ed.     1821.  Ref.  391M61 

24  colored  aquatints,  including  Britons,  Druids,  Ancient 
Irish,  Danes,  and  Goths. 


Montgomery,  D.  H.  Leading  Facts  of  English 
History.     1903.  942M78L 

See  "  Dress  "  in  Index. 

Nayler,  Sir  George.  Coronation  of  His  Most  Sacred 
Majesty,  George  the  Fourth.     1839.  Ref. 

42  colored  plates. 

Nevill,  Ralph.  Old  Sporting  Prints.  1908.  (Con- 
noisseur, Extra  Number.)  760N52O 

52  plates,  36  in  color,  showing  English  costume  at  the  end 
of  the  18th  and  the  beginning  of  the  19th  centuries. 

New  Bon  Ton  Magazine;  or.  Telescope  of  the  times. 
V.  1-6.     May,  1818— Apr.,  1821.  052N53 

Colored  caricatures  of  costume  of  period. 

Nicolas,  Sir  N.  H.  History  of  the  Orders  of  Knight- 
hood of  the  British  Empire.     4  v.     1842. 

Ref.  929.7N63H 

Colored  plates  of  regalia,  5  portraits  in  full  regalia. 

Oxford  University.  Oxford  Historical  Pageant. 
1907.  8220988 

35  half-tone  illustrations,  mostly  contemporary. 

Parrott,  Edward.  The  Pageant  of  English  Litera- 
ture.    1914.  820P26 

Shows  costumes,  in  color,  of  English  writers,  etc. 

Paston,  George.  (E.  M.  Symonds.)  Social  Carica- 
ture in  the  18th  Century.     1905.       Ref.  741P29 

Colored  frontispiece  and  over  200  half-tone  caricatures  of 
18th  century  costume. 

Paul,  H.     Queen  Anne.     1906.  Ref.  942P32Q 

Numerous  portraits  in  Queen  Anne  costume. 

Perkins,  Mrs.  L.  F.  Robin  Hood:  his  deeds  and 
adventures.     1906.  821.04P44 

IlaS  colored  plates,  etc.,  showing  old  English  costume. 

Pictures  of  Society;  Grave  and  Gay.  From  the  pencils 
of  celebrated  artists  and  the  pens  of  popular 
authors.     1866.  820.8P61 

95  plates,  lithographs,  a  re-issue  of  the  best  engravings 
from  '■  London  Society." 

Picturesque  Representations  of  the  Dress  and  Manners 
of  the  English,  illus.  in  50  colored  engravings,  with 
descriptions.     1814.  R391P61E 

Planche,  J.  R.  History  of  British  Costume,  from 
the  Earliest  Period  to  the  Close  of  the  18th  Cen- 
tury.    1834.  391P69 

Numerous  illustrations. 

—  Same.     3d  ed.     Reprinted  1907. 
Price,  J.  M.     Dame  Fashion:  Paris-London  (1786- 
1912).     1913.  *  391P94 

Pyne,  W.  H.    The  Costume  of  Great  Britain.     1808. 

R391P99 

60  colored  plates,  with  explanatory  text,  of  various  types 
of  people. 


Page  One  Hundred  Fifty-six 


BIBLIOGRAPHY 


Repository  of  Arts,  Literature,  Fashions,  etc.  By  R. 
Ackermann.  Ser.  1,  v.  3-6,  9-14;  Ser.  2,  v.  1-14; 
Ser.  3,  V.  1-12.     Jan.,  1810— Dec,  1828.     052R42 

Letters  on  London  and  Paris  fashions.  Colored  steel 
plates  of  women's  dress. 

Russell,  W.  11.  Memorial  of  the  Marriage  of  H.  R. 
H.  Albert  Edward,  Prince  of  Wales,  and  H.  R.  H. 
Alexandra,  Princess  of  Denmark.     1864. 

Ref.  394R96 

Includes  several  chromo-lithographs  of  court  costumes. 

Schild,  Marie.  Old  English  Costumes:  an  epitome 
of  ladies'  costumes,  from  the  1st  to  the  19th  cen- 
tury,    n.d.  391S330 

40  steel  plates  and  4  colored  engravings,  many  of  histori- 
cal characters. 

—  Old  EngHsh  Peasant  Costumes.     1898.    391S33 

Shoberl,  F.  World  in  Miniature.  England,  Scot- 
land, and  Ireland.  Edited  by  W.  H.  Pyne.  4  v. 
1827.  Ref.  914.2S559 

84  colored  engravings. 

Smith,  Albert.  Gavarni  in  London.  Sketches  of 
London  life  and  character.     1849.     914.21S642G 

Colored  illustrations. 

—  Same.     1859.  914.21S642 

22  wood-cuts. 

Stephenson,  H.  T.     The  Elizabethan  People.     1910. 

914.2S83 

Stone,  Mrs.  E.  Chronicles  of  Fashion,  from  the 
Time  of  Elizabeth  to  the  Early  Part  of  the  19th 
Century.     2  v.     1845.  914.2M55 

"Costumes,"  v.  1,  pp.  S94-434;  v.  2,  pp.  363-455.  15 
steel  engravings. 

Strutt,  Joseph.  Complete  View  of  the  Dress  and 
Habits  of  the  People  of  England,  from  the  Estab- 
lishment of  the  Saxons  to  the  Present  Time. 
2  V.     1842.  Ref.  391S92 

Illustrated  by  engravings  and  colored  plates. 

—  Regal  and  Ecclesiastical  Antiquities  of  England. 
1843.  Ref.  913.42S927 

72  copperplate  portraits,  from  Edward  the  Confessor  to 
Henry  VIII. 

—  Sports  and  Pastimes  of  the  People  of  England. 
New  ed.,  by  Wm.  Hone.     1850.  790S92 

140  wood-cuts,  representing  popular  diversions. 

Suffling,  E.  R.  English  Church  Brasses,  from  the 
13th  to  the  17th  Century.     1910.  739S94 

237  illustrations,  reproduced  from  rubbings.  Contains 
chapters  on  "  Costume  of  Ladies,"  "  Civilian  Costume  of 
Gentlemen,"  and  "  Ecclesiastical  Vestments." 

Sydney,  W.  C.  England  and  the  English  in  the 
18th  Century.     2  v.     1891.  942S98E 

"  Dress  and  Costume,"  v.  1,  pp.  89-130. 


Synge,  M.  B.     Short  History  of  Social  Life  in  Eng- 
land.    1906.  942S99 

See  "  Dress  "  in  Index.     Brief  references. 

Thornely,  J.  L.     The  Monumental  Brasses  of  Lan- 
cashire and  Cheshire.     1893.  739T51 

Engravings  from  drawings. 

Traill,  H.  D.     Social  England.     6  v.     1894-97. 

942T76S 

See  "  Costume  "  and  "  Dress  "  in  Index  of  each  vol. 


Same.    Illustrated  ed.     1901-04. 

Many  colored  illustrations. 


942T76 


Trowbridge,  W.  R.  H.  Court  Beauties  of  Old  White- 
hall; historiettes  of  the  Restoration.     1906. 

920H8632 

32  Restoration  portraits. 

Tuer,  A.  W.  Follies  and  Fashions  of  our  Grand- 
fathers, 1807.     1886-7.  Ref.  914.2T91 

Digest  of  magazine  material  of  1807.     37  hand-colored 
plates. 

Walker,  G.     Costume  of  Yorkshire  in  1814.     1885. 

Ref.  391W179 

A  series  of  41  facsimiles  of  original  drawings. 

Wingfield,  Leivis.  Notes  on  Civil  Costume  in 
England,  from  the  Conquest  to  the  Regency,  as 
Exemplified  in  the  International  Health  Exhibi- 
tion of  1884.     1884.  Ref.  394W77 

24  colored  illustrations,  lithographs,  of  the  period  1066- 
1820. 

Woodward,  G.  M.  Eccentric  Excursions;  or, 
Literary  and  pictorial  sketches  in  England  and 
South  Wales.     1796.  Ref.  827W89 

About  100  colored  caricatures  of  contemporary  dress. 

Wright,  Thomas.  The  Celt,  the  Roman,  and  the 
Saxon.     1852.  913W95C 

Dress    of   Romans   in    Britain,    pp.    326-33.     3    cuts    of 
ornaments. 


—  Homes  of  Other  Days.     1871. 


914.2W953 


Many  small  wood-cuts,  from  contemporary  sources,  of 
costume  from  Anglo-Saxon  times  to  16th  century. 


England,  Military  Costume 

Archibald,  J.  F.  J.     Blue  Shirt  and  Khaki.     1901. 

355A67 

Many  half-tones  of  English  and  American  soldiers. 

Besant,  Sir  Walter.     Soldiers.     (In  his  London  in 

the  Time  of  the  Tudors.     1904.     pp.   316-22.) 

Ref.  942.1B55LO 

Several  illustrations. 


BIBLIOGRAPHY 


Page  One  Hundred  Fifty-seven 


The  British  Army.  By  a  lieutenant-colonel  in  the 
British  Army.  With  an  introduction  by  Major- 
General  F.  Maurice.     1900.  355B86 

colors)  and  30  illustrations  in 


R355C84 


27  full-page  plates  (13 
text. 

Costumes  of  the  British  Army.     1885. 

Colored  plates.     No  text. 

Ellis,  A.  B.  History  of  the  1st  West  India  Regi- 
ment.    1885.  355E47 

2  colored  plates  of  Negro  uniforms. 

Groves,  J.  P.  History  of  the  42d  Royal  Highlanders, 
"  The  Black  Watch."     1729-1893.     1893. 

Ref.  355G88H 

Pp.  1-3,  14.     4  colored  plates  of  uniforms,  1729-1893. 

Koppen,  F.  von.  Army  of  the  British  Empire.  (In 
his  Armies  of  Europe,  illustrated.  1890.  pp. 
1-19.)  355K77 

Descriptions  in  text.  3  double  colored  plates  (23  illus- 
trations, including  2  naval)  and  G  text  illustrations  of 
uniforms  of  the  period. 

Luard,  John.  History  of  the  Dress  of  the  British 
Soldier,  from  the  Earliest  Period  to  the  Present 
Time.     1852.  355L92 

50  outline  plates. 

Milne,  James.     Gordon  Highlanders.     1898. 

355M65 

Includes  half-tone  plates,  showing  Highland  uniforms  of 
different  periods. 

Perry,  0.  L.  Rank  and  Badges  in  Her  Majesty's 
Army  and  Navy.     2d  ed.     1888.  355P46 

Badges  and  uniforms  of  military  and  naval  organizations. 

Robinson,  C.  N.  Navy  and  Army  Illustrated. 
1895-96.     2  V.  355N32 

Illustrations  of  British  uniforms,  including  native  troops. 

—  Some  Notes  on  the  Costume  of  the  Sailors  of  the 
Past.  (In  Swinburne,  H.  L.  Royal  Navy. 
1907.     p.  338.)  359S97 

10  colored   plates  of  seamen's  dress,   from  600  a.d.   to 


Scott,  Sir  J.  S.  D.     British  Army. 


V.     1868. 

R355S42 

"  Body  armor,"  v.  1,  pp.  192-222;  "  clothing  of  troops," 
V.  2,  pp.  431-45.     Many  plates  with  descriptive  notes. 

Smith,  J.  H.  Historic  Booke,  to  Keep  in  Remem- 
brance the  Meeting  of  the  Honorable  Artillery 
Company  of  London  and  the  Ancient  and  Honor- 
able Artillery  Company  of  the  Massachusetts. 
1903.  Ref.  358S65 

Colored  plates  of  Royal  Artillery  uniforms,  1660-1900, 
and  numerous  plates  and  text  illustrations  of  17th-19th 
century  costume. 


Thornely,  J.  L.  Monumental  Bras,ses  of  Lanca- 
shire and  Cheshire.     1893.  739T51 

Outline  illustrations,  from  rubbings,  of  costumes  of  145S- 
1650. 

Uniforms  of  the  Armies  of  the  Six  Great  Powers  of 
Europe.  (In  Standard  dictionary.  Sup.  1903. 
p.  2187.)  Ref.  423F98Su 

Section  of  colored  plate,  showing  18  English  uniforms. 

Wolseley,  Viscount  Garnet.  Standing  Army  of  Great 
Britain.  (In  Armies  of  To-day.  1893.  pp. 
57-96.)  355M57 

8  cuts  of  British  uniforms. 

Zogbaum,  R.  F.  Great  Britain;  a  Home  of  Tommy 
Atkins.  (In  his  Horse,  Foot,  and  Dragoons. 
1888.     pp.  49-74.)  355Z85 

10  wood-cuts,  plates,  and  text  illustrations  of  uniforms. 

England.  See  also  Caricatures  and  Caricaturists 

Eskimo  Costume 

Carstensen,  A.  R.  Two  Summers  in  Greenland. 
1890.  919.8C32 

Photogravures  and  cuts  of  Eskimo  dress. 

Gilder,  W.  H.  Schwa tka's  Search:  sledging  in  the 
Arctic  in  quest  of  the  Franklin  records.     1881. 

919.8G40 

"  Arctic  costumes,"  pp.  136-46.     4  or  5  plates  of  costume. 

Hanbury,  D.  T.  Sport  and  Travel  in  the  Northland 
of  Canada.     1904.  917.1H23 

a  few  colored  plates. 

Hutton,  S.  K.  Among  the  Eskimos  of  Labrador. 
1912.  917.19H98 

Illustrations  from  photographs. 

Mikkelsen,   E.     Conquering   the  Arctic  Ice.     1909. 

919.8M63 

Nansen,   F.     First   Crossing   of   Greenland.     2    v. 

1890.  919.8Nl8Fi2 

Many  wood-cuts.     Consult  Index. 

Nordenskiold,  A.  E.     Voyage  of  the 
Asia  and  Europe.     1882. 

Consult  Index.     Wood-cuts. 

Peary,  R.  E.     Northward  over  the  " 
2  V.     1898. 

Many  half-tone  cuts  of  Eskimos. 

Schivatka,  Frederick.     Children  of  the  Cold.     1899. 

919.98S41C 

Half-tone  and  wood-cut  plates  of  costume. 

Stefansson,   V.     My  Life  with  the  Eskimo.     1913. 

918.8S81 

Illustrations  from  photographs. 


Vega  round 
919.8N83V 

Great  Ice." 
919.8P362 


Page  One  Hundred  Fifty-eight 


BIBLIOGRAPHY 


Etruscan  Costume 

Desvergers,  M.  J.  A.  N.  L'Etrurie  et  les  Etrusques. 
3  V.     1862-64.  Ref.  F913D47 

Two-color  plates  of  objets-d'art,  showing  costumes. 

Magnetti,  Carlo.  Costume  des  Etrusques.  (In 
Ferrario,  G.  Costume.  1820.  Europe,  v.  2. 
pp.  7-219.)  Ref.  391F37 

Many  of  the  42  colored  copperplates  show  dress. 

See  also  Rome 

Fancy  Dress 

Aria,  Mrs.  E.  Of  Fancy  Dress.  (In  her  Costume, 
fanciful,  historical,  and  theatrical.  1906.  pp. 
178-189.)  391A69 

1  colored  plate  and  4  other  illustrations  of  costume. 

Butterick  Pub.  Co.  Masquerade  and  Carnival. 
1892.  R391B98 

Compte-Calix,  F.  C.  Fourteen  Colored  Lithographs 
of  Fancy  Dress  for  Ladies.     .?1844.         R391C73 

One  design  for  a  man's  costume  is  given. 

—  Travestissements  ^l^gants.     .'1864.       *391C73T 

15  colored  plates. 

Fancy  Dress:  a  short  chronological  series  of  cos- 
tumes,    n.d.  391F19 

Five  Water  Color  Draioings  of  Fancy  Dress  for 
Ladies  (crinoline  pattern)  about  1850.     R391F56 

The  drawings  are  heightened  with  gold  and  silver, 
and  stamped  "  Mme.  E.  D6vy." 

Holt,  Ardern.  Fancy  Dresses  Described;  or. 
What  to  wear  at  fancy  balls.     3d  ed.,  enl.     1882. 

391H75FD 

Outline  illustrations,  restricted  to  the  costume  of  ladies 
and  children.  16  models  in  color,  as  well  as  a  new  series  of 
smaller  illustrations. 

—  -Same.     5th  ed.     1887.  R39lH75Fa 

—  Same.     6th  ed.     n.d. 

—  Gentleman's  Fancy  Dress;  how  to  choose  it. 
4th  ed.     n.d.  391H75 

Outline  cuts. 

—  Same.     6th  ed.     n.d. 

Lumm,  E.  G.     Twentieth  Century  Speaker.     1898. 

808.5L95 

Several  colored  and  half-tone  plates  of  costumes  for 
tableaux,  etc. 

Morin,  A.  E.  Twenty -one  Colored  Lithographs  of 
Fancy  Dress  for  Ladies.     .?1850.  R391M85 

The  "  Sketch."     London,  Jan.  2,  1907. 

Pp.  6-7.  Carmen — Pompadour  flower  girl — Directoire — 
Soubretteof  the  Second  Empire — Astartc — Mireille — Delilah 
— Louis  XVI  period — M^lisande — Empire  court  dress. 


Spielman,  M.  11.     Kate  Greenaway.     1905. 

Ref.  BG798S 

5.3    colored   plates   and   many    cuts    of    Kate   Greenaway 
costumes. 

Weldon.  Weldon's  Practical  Fancy  Dress  for  Chil- 
dren.    1887.  391W34 

49  illustrations  with  descriptive  text. 

Fans 

Flory,  M.  A.  Book  about  Fans:  the  history  of 
fans  and  fan-painting.     1895.  391F64 

29  wood-cuts  and  half-tones. 

Grolier  Club  {New  York).  The  Fan  in  All  Ages: 
a  brief  history  of  its  evolution.     1891. 

Ref.  391G87 

19  wood-cuts. 

Mowrey,  Gabriel.  Modern  Design  in  Jewellery  and 
Fans.     1902.  745M93 

Rhead,  G.  W.     History  of  the  Fan.     1910. 

R391R46H 

—  Modern  Practical  Design.     1912.  740R46M 

Includes  a  chapter  on  "  Fans  and  Lace." 

Salwey,C.M.     Fans  of  Japan.  1894.  Ref.  391S18 

10  colored  plates  and  39  illustrations  in  black-and-white. 

Uzanne,L.O.     The  Fan.     1884.  Ref.  391U99F 

Waern,  Cecilia.  Short  Historical  Sketch  of  Fans. 
1895.  391W12 

8  half-tones  of  fans.     Brief  bibliography. 

Fiji  Islands 
BuHon,  J.  W.     Fiji  of  To-day.     1910.       919.6B97 

Many  photographs. 

Flemish  Costume.    See  Belgium 

Foot-wear 

Becker,  W.  A.  Shoes.  (In  his  Charikles.  1845. 
pp.  326-31.)  913B39CH 

4  cuts  of  shoes  of  Homeric  times. 

—  Same.     5th  ed.     1880.     (pp.  442-52.) 

Hall,  J.  S.  Book  of  the  Feet:  a  history  of  boots  and 
shoes.     3ded.     1847.  391H17 

4  colored  plates  (42  figures),  and  many  wood-cuts  of  foot- 
wear. 

Lacroix,  Paul,  and  others.  Histoire  des  Cordon- 
niers.  Pr^cedee  de  I'histoire  de  la  chaussure. 
1852.  Ref. 

Many  cuts  of  boots  and  shoes  of  all  periods  and  countrVs, 


BIBLIOGRAPHY 


Page  One  Hundred  Fifty-nine 


Menard,  Rene.  Le  Chaussure.  (In  his  La  vie 
Priv6e  des  Anciens.     1881.     v.   2.     p.   322-30.) 

F913M53 

22  outline  illustrations  of  boots  and  shoes. 

Redfern,  W.  B.  Royal  and  Historic  Gloves  and 
Shoes.     Illustrated  and  Described.     1904. 

Ref.  391R31 

32  plates  (1  colored)  of  boots  and  shoes  of  various  nations 
and  times. 

Rhead,  G.  W.  Boots,  Shoes,  and  Other  Coverings 
for  the  Feet.  (In  his  Chats  on  Costume.  1906. 
pp.  279-301.)  391 B46 

Historical    and    descrir-t've.     Wood-cuts    and    half-tone 


illustrations. 


France 


Allinson,  Alfred.  The  Days  of  the  Directoire. 
1909.  944  A43 

Chapter  XI.     Costume  from  1795-99. 

Arnault,  A.  V.  Vie  Politique  et  Militaire  de 
Napoleon.     2  v.     1822-26.  Ref.  FBN216Ar 

Lithographed  plates,   after  original  designs   of  the  first 
painters  of  the  French  school. 

Bourgeois,  Emile.  France  under  Louis  XIV.  Tr. 
by  Mrs.   Cashel  Hoey.     1897.  Ref.  944B77 

Many  of  the  copperplates  show  costume. 

Boutet,  H.  Les  Modes  Feminines  du  Dix-neuvieme 
Siecle.     1902.  RF391B77 

100  colored  plates.     No  text. 
Boutet  de  Monvel,  Roger.     Beau  Brummell  and  His 
Times.     With  a  chapter  on  dress  and  the  dandies, 
by  Mary  Craven.     1908.  BB893Bo 

Bridgens,  Richard.  Sketches  Illustrative  of  the 
Manners  and  Customs  of  France,  Switzerland,  and 
Italy.     1821.  R391B851 

Colored  plates,  with  descriptive  text. 
Bruyn,  A.  de.     Costumes  Civils  et  Militaires  du 
XVr  Siecle.     1872.  Ref.  F391B91 

33  photolithographic  plates. 

Challamel,  J.  B.  M.  A.  History  of  Fa.shion  in 
France;  or.  The  dress  of  women,  from  the  Gallo- 
Roman  period  to  the  present  time.  Tr.  by 
Mrs.  Cashel  Hoey  and  John  Lillie.     1882. 

Ref.  391C43 

20  colored  plates  (80  figures). 

Chase,  Mrs.  Lewis.  Vagabond  Voyage  through 
Brittany.     1915.  914.4C48 

Clouet,  Janet.  300  French  Portraits  of  the  Courts 
of  Francis  I,  Henry  II,  and  Francis  II.  2  v. 
1875.  Ref.  741C64 

Auto-lithographed  from  the  originals  at  Castle  Howard. 


Cook,  C.  C.  Costumes  of  the  Time  of  the  French 
Revolution,  1790-1793;  together  with  English 
costumes,  1795-1806.  Drawn  from  the  collec- 
tion of  Victorien  Sardou.     1889.         Ref.  391G95 

6.5  etchings,  executed  by  Guillaumot  fils,  colored  by  hand. 
40  of  French,  25  of  English  costume. 

D'Este,  Margaret.  Through  Corsica  with  a  Camera. 
1905.  914.59D47 

17  of  the  half-tones  show  costumes. 

Drumont,  Edouard.  Les  Fetes  Nationales  a  Paris. 
1889.  RF944D79 

French  costumes  fiom  1389,  illustrated  in  plates.     Text 
illustrations  of  national  ffites. 

Duplessis,  G.  Costumes  Historique''.  des  XVI^, 
XVir  et  XVIir  Siecles.     2  v.     1867. 

Ref.  F391D93 

Full-page  colored  illustrations. 

Edwards,  G.  W.     Brittany  and  the  Bretons.     1910. 

914.4E263 

Colored  plates. 

Egerton,  M.  M.,  Countess  of  Wilton.  Toilette  in 
France.  (In  her  Book  of  Costume.  1847. 
pp.  192-270.)  Ref.  391W75 

Numerous  cuts  of  head-dress  and  costume. 

Garcia,  G.  Les  Modes  du  Directoire  et  du  Consulat. 
n.d.  RF391G21 

Gostling,    F.    M.     The   Bretons   at   Home.     1909. 

914.4G68 

Colored  plates  and  photographs. 

Gronoiv,  G.  W.  Reminiscences  and  Recollections  of 
Capt.  Gronow,  1810-60.     2  v.     1889. 

*  920G876R 

References  to  and   illustrations  of  French  and  English 
dress  of  period.     Hand-colored,  etched,  and  aquatint  plates. 

Guillaumot,  A.  E.  Costumes  du  XVIII''  Siecle, 
d'apres  les  Dessins  de  Watteau  fils,  Desrais, 
Leclerc,  Cochin,  etc.  Ref.  F391G95 

60  etchings. 

—  Costumes  of  the  Time  of  the  French  Revolution, 

1790-1793.     1889.  R391G95 

Plates  colored  by  hand. 

Iloyt,  Eleanor.    (Mrs.  Brainerd.)    In  Vanity  Fair;  a 

tale  of  frocks  and  femininity.     1906.       914.4H86 

Janin,  J.  G.  and  others.     Pictures  of  the  French. 

1840.  *  914.4J33 

230  engravings,  from  Gavarni,  Monnier,  and  Meissonier, 

of  French  costume  of  1840. 

Koppen,  F.  von.  France.  (In  his  Armies  of  Europe. 
Illustrated.     1890.     pp.  46-53.)  355K77 

2    double    colored    plates    (13   illustrations,    includiT^g   3 
naval)  and  6  text  illustraujua  of  Frencn  uniforms. 


Page  One  Hundred  Sixty 


BIBLIOGRAPHY 


Lacroix,  Paul.  Dress  and  Fashions.  (In  his 
Eighteenth  Century.     1876.     pp.  452-89.) 

*  914.4L14 

10  colored  plates,  and  many  illustrations,  of  dress  of  the 
period. 

Lawrence,  H.  W.  French  Line  Engravings  of  the 
I^te    18th    Century.     1910.  R769L42 

Pp.  89-102.     Le  monument  de  costume. 

Lechevallier-Chevignard,  G.  Costumes  Historiqiies 
de  Femmes  du  Quatorzieme  au  Dix-huitieme 
Sieele.     1889.  RF391L45 

Contains  colored  plates. 

Lewis,  George.  A  Series  of  Groups,  Illustrating  the 
Physiognomy,  Manners,  and  Character  of  the 
People  of  France  and  Germany.     1823.     767L67 

60  etched  plates. 

Mennechet,  E.  Le  Plutarque  Frangais;  Vies  des 
Hommes  et  Femmes  Illustres  de  la  France.  8  v. 
1835-41.  RF920M54 

Contains  colored  plates.     Index  at  end  of  Vol.  8. 

Menpes,  Dorothy.  Brittany.  Illustrated  by  Morti- 
mer Menpes.     1905.  914.4M54 

About  50  of  the  75  colored  plates  show  Breton  costume. 

Milioun,  Francis.  Rambles  in  Brittany.  Illus- 
trated by  Blanche  McManus.     1906. 

914.4M66RB 

"  Manners  and  customs,"  pp.  70-87.       Many  of  the  half- 
tone plates  and  wood-cuts  show  costume. 


Mnsgrave,    George.     Nooks    and    Corners    of    Old 
France.     2  v.     1867.  914.4M987N 

"  Touraine  caps,"  v.  1,  pp.  225. 

Pauquet  Freres.     Modes  et  Costumes  Historiques. 
?1865.  Ref.  391P33 

93  colored  plates  of  French  costume,  493  a.  d.  to  1S64. 

Piton,  Camille.     Le  Costume  Civil  en  France  du 
Treizieme  au  Dix-neuvieme  Sieele.     n.d. 

F391P68 

700  photographic  illustrations.     A  few  colored  plates. 

Planta,    Edward.     New    Pictures    of    Paris.     5    v. 
1827.  *  914.4P71 

Vol.  1  contains  29  colored  illustrations  of  the  costumes  of 
the  lower  orders  in  Paris. 

Price,     J.     M.     Dame     Fashion.     Paris — London, 
1786-1912.  *  391P94 

Includes  155  colored 


Quicherat,    J.     Histoire    du    Costume    en    France, 
jusqu'^  la  fin  du  XVIIF  Sieele.     1875. 

Ref.  F391Q62 

481  wood-cuts  of  both  male  and  female  costume. 


Same.     [In  French.]     1891. 


Repository  of  Arts,  Literature,  Fashions,  etc.  By 
R.  Ackerniann.  Ser.  1,  v.  3-6,  9-14;  Ser.  2, 
V.  1-14;  Ser.  3,  v.  1-12.     Jan.,  1810— Dec.,  1828. 

052R42 

Monthly  letters   on   Paris   '"  female   fashions."     Colored 
steel  plates. 

Robida,  A.  "Yester-year":  ten  centuries  of  toi- 
lette.    1891.  391R65 

29   colored   plates   and   numerous   wood-cuts   of   French 
female  costume  from  the  Middle  Ages  to  about  1880. 

F391R65 

Roger-Miles,   L.     Le   Costume   et   la   Mode.     n.d. 

R391R72 

Relates  to  the  styles  of  the  8th-  19th  centuries. 

Sloane,  W.  M.     Life  of  Napoleon.     4  v.     1896. 

RBN216SL 
Smith,  J.  H.     Troubadours  at  Home.     2  v.     1899. 

849S65 

See  "  Costume  "  in  Index.     A  few  cuts  of  costume. 

Uzanne,  L.  0.  Fashion  in  Paris:  feminine  taste  and 
aesthetics,  from  1797  to  1897.     1898.   Ref.  391U99 

100  hand-colored  plates  and  250  text  illustrations  of  both 
male  and  female  dress. 

—  Frenchwomen  of  the  Century :  fashions,  manners, 
usages.     1897.  Ref.  394U99 

Contains  colored  plates. 

Viollet-Le-Duc,  E.  E.  Dictionnaire  RaLsonne  du 
Mobilier  FranQais  de  I'Epoque  Carlovingienne  a 
la  Renaissance.     6  v.     1858-72.      Ref.  F703V79 

Dress,  personal  jewels,  toilet  articles,  v.  3  and  4.     Many 
wood-cuts  and  a  few  colored  plates. 

France,  Military  Costume 

Lewal.  French  Army.  (In  Armies  of  To-day. 
1893.     pp.  161-215.)  355M57 

16  cuts  of  French  and  French  Colonial  uniforms  of  the 
period. 

Richard,  Jules.  L'Armee  Fran^aise.  2  v.  1885- 
89.  RFS55M22 

Colored  plates  and  other  illustrations. 


La  Jeune  Armee.     n.d. 


RF355M22J 


Uniforms  of  the  Armies  of  the  Six  Great  Powers  of 
Europe.  (In  Standard  dictionary.  Sup.  1903. 
pp.  2187.)  Ref.  423F98Su 

Section    of    colored    plate,    showing    16    modern    French 
uniforms. 

Zoghaum.  R.  F.     France:    war  pictures  in  time  of 

peace.        (In    his    Horse,    Foot,    and    Dragoons. 

1888.     pp.  1-47.)  355Z85 

15  wood-cuts,   plates,  and  text  illustrations  of  modern 

French  uniforms. 


BIBLIOGRAPHY 


Page  One  Hundred  Sixty-one 


France.    See  also  Caricatures  and  Caricaturists 

Germany 

Avenarius,  Tony.  Historischer  Festzug  veranstaltet 
bei  der  Feier  der  Vollendung  des  Kolner  Domes 
am  16.    October,  1880.     n.d.  Ref.  750A95 

29  large  lithographed  plates  of  German  costumes,  1248- 
1880. 

Bossi,  Luigi.  Costume  Ancien  et  Moderne  des 
Germains.  (In  Ferrario,  G.  Costume.  1824. 
Europe,     v.  4.     [v.  15.]     pp.  173-816.) 

Ref.  391F37 

Over  40  colored  copperplates  of  ancient  and  modern  Ger- 
man costumes  of  all  classes. 

Egerton,  M.  M.,  Countess  of  Wilton.  Toilette  in 
Germany.  (In  her  Book  of  Costume.  1847. 
pp.  271-87.)  Ref.  391W75 

Several  wood-cuts  of  male  and  female  costume. 

Grohman,  W.  A.  Baillie.  Land  in  the  Mountains: 
past  and  present  of  Tyrol.     1907.  943.7G87 

"  Costume  of  the  Landesknechte,"  pp.  232-35. 

Guinot,  Eugene.     Summer  at  Baden-Baden.     1876. 

914.3G96 

6  colored  plates  of  costumes. 

Hottenroth,  F.  Trachten,  Haus-,  Feld-,  und  Kriegs- 
gerathschaften  der  Volker  alter  und  neuer  Zeit. 
2  vols.     n.d.  G391H83 

120  plates  and  numerous  wood-cuts. 

Johnson,  A.  C.     Peasant  Life  in  Germany.     1858. 

914.3J66 

See  "  Costumes  "  in  Index. 

Kohler,  K.  Die  Entwickelung  der  Tracht  in 
Deutschland  wahrend  des  Mittelalters  und  der 
Neuzeit.     1877.  G391K77 

100  plates. 

Kretschmer,  Albert.  Costumes  Nationaux  Alle- 
mands;  dessins  originaux,  avec  texte  explicatif. 
1870.  RG391K92 

Numerous  colored  plates. 

Laugel,  A.     Costumes  et  Coutumes  d'Alsace.     1902. 

RF914.3L37 

Colored  plates. 

Lewis,  George.  A  Series  of  Groups,  Illustrating 
.  .  .  the  people  of  France  and  Germany.     1823. 

767L67 

60  etched  plates. 

Schwind,  Moritzvon.  Schwind;  des  Meisters  Werke 
in  1265  Abbildungen.     1907.  G759W41 

Many  portraits  in  19th  century  German  costume,  and  a 
number  of  cuts  of  historic  German  dress. 


Germany,  Military  Costume 

Dally,  A.  Uniforms  de  I'Armee  Allemande  en  1886. 
Illustrated  by  M.  Roy.  n.d.  [Cahiers  d'en- 
seignement.     No.  13-16.] 

(3  Unbound  Pamphlets) 

16  colored  full-page  illustrations,  with  a  few  cuts  of  Ger- 
man uniforms  of   1886. 

Illustrated  London  News.     April  26,  1913. 

Contains  colored  plates. 

Exner.  German  Army  of  To-day.  (In  Armies  of 
To-day.     1893.     pp.  97-160.)  355M57 

"  Equipment    and    clothing,"    pp.    147-49.     14    cuts    of 
modern  uniform. 

Guinot,  Eugene.     Summer  at  Baden-Baden.     1876. 

914.3G96 

3  colored  plates  of  uniforms  of  Baden. 

Koppen,  F.  von.  German  Army.  (In  his  Armies 
of  Europe,  Illustrated.     1890.     pp.  20-35.) 

355K77 

3  double-page  colored  plates  (20  illustrations,  including 
3  naval)  and  8  text  illustrations  of  uniforms. 

Landesknechte.  (In  Meyer's  Konversations-Lexicon. 
6th  ed.    1905.    v.  12.    p.  126.)  Ref.  G033M6lKo 

Brief  historical  article,  and  plate  of  10  cuts,  of  German 
foot-soldiers,  15th-16th  centuries. 

—  Same.     4th  ed.     1888.     (v.  10.     p.  469.) 

Sigel,  G.  A.  Deutschlands  Heer  und  Flotte  in  Wort 
und  Bild.     1900.  RG355S57 

Colored  plates.     Text  in  English  and  German. 

Uniforms  of  the  Armies  of  the  Si.c  Great  Powers  of 
Europe.  (In  Standard  dictionary.  Sup.,  1903. 
p.  2187.)  Ref.  423F98Su 

Section  of  colored  plates,  showing  19   modern  German 
uniforms. 

Zogbaum,  R.  F.  Germany:  a  night  with  the  Fourth 
Corps.  (In  his  Horse,  Foot,  and  Dragoons. 
1888.     pp.  75-99.)  355Z85 

10  plates  and  cuts  of  German  uniforms. 

Gipsy  Costume 

Boner,  Charles.  Transylvania;  its  products  and  its 
people.     1865.  914.39B71 

Elate  of  gipsy  group,  with  brief  scattered  references  in  text. 

Cuttriss,  Frank.     Romany  Life.     1915.        397C99 

Gerard,  E.  The  Land  beyond  the  Forest:  facts, 
figures,  and  fancies  from  Transylvania.  2  v. 
1888.  914.39G35 

2  photogravures  and  5  wood-cuts  of  gipsy  costume. 

McCormick,  Andrew.     The  Tinkler-Gypsies.     1907. 

397M13 

Photo.graphic  reproductions. 


Page  One  Hundred  Sixty-two 


BIBLIOGRAPHY 


Morwood,  V.  S.  Our  Gipsies  in  City,  Tent,  and 
Van.     1885.  397M89 

Pennell,  E.  R.  To  Gipsyland;  illustrated  by  J. 
Pennell.     1893.  914.39P41 

Frequent    reference    to  gipsy    dress.     Many    black-and- 
white  illustrations  of  gipsy  costume. 

Smith,  F.  B.  Budapest:  the  city  of  the  Magyars. 
1903.  914.39S64 

Illustrations  include  17  half-tones  of  Hungarian  gipsies. 

Yoxall,  J.  H.  A  Word  on  Gypsy  Costume.  (In 
Journal  of  the  Gypsy  Lore  Society.  New  ser., 
V.  1,  July,  1907,  pp.  23-25.) 

Including  1  illustration  and  bibliographical  notes. 

Gloves 

Beck,  S.  W.  Gloves;  their  annals  and  associations. 
1883.  391B39 

Many  wood-cuts. 

Redfem,  W.  B.  Royal  and  Historic  Gloves  and 
Shoes,  Illustrated  and  Described.     1904. 

Ref.  391R31 

46  plates  (4  colored)  of  gloves,  chiefly  English  and  Scotch. 

Uzanne,  L.  0.  The  Sunshade — the  Glove — the 
Muff.     1883.  Ref.  391U99S 

Historic  and  descriptive.     Numerous  photogravures. 

Greece 
Abrahams,  Ethel  B.     Greek  Dress.     1908.     391 A15 

54  half-tone  illustrations. 

Becker,  W.  A.  Charikles;  or.  Illustrations  of  the 
private  life  of  the  ancient  Greeks.     1845. 

913B39CH 

Dress,  pp.  159-71,  304-25;   Shoes,  pp.  .326-31;   Hair  and 
beard,  pp.  332-38.     1  plate  and  9  wood-cuts  of  dress. 

—  Same.    5th  ed.     1880. 

Notes    somewhat    fuller    than    in    earlier    edition.     See 
"  Dress  "  in  index. 

Blumner,  H.  Home  Life  of  the  Ancient  Greeks. 
Tr.  by  A.  Zimmern.     1893.  913B65 

"  Costume,"  pp.  1-77.    See  also   "  Costume  "  in  Index. 
Many  wood-cuts.     Brief  bibliography. 

Choisseul-Gouffler,  M.  G.  A.  F.,  comte  de.     Voyage 

Pittoresque  de  la  Grece.     2  v.  in  3.     1782-1822. 

Ref.  F914.95C54 

Many  of  the  325  copperplates  show  ancient  and  modern 
Greek  dress.     Descriptive  text. 

Davis,  R.  H.  Modern  Greece.  (In  his  Rulers  of 
the  Mediterranean.     1894.     pp.  178-97.) 

910D26R 

8  cuts  of  modern  Greek  costume,  several  of  peasants. 


Dupre,  L.  Voyage  a  Athenes  et  a  Constantinople. 
1825.  RF391D94 

Colored  plates  of  modern  Greek  costume.     Descriptive 
text  in  French. 

Egerton,  M.  M.,  Countess  of  Wilton.  Toilette  in 
Greece.  (In  her  Book  of  Costume.  1847. 
pp.  388-407.)  Ref.  391W75 

10  wood-cuts,  mostly  of  modern  costume. 

Evans,   Lady  M.   M.     Chapters  on   Greek  Dres 
1893.  391E9 

74  cuts  of  classic  dress.     Bibliography. 

Ferriman,  Z.  D.     Home  Life  in  Hellas.     1910. 

914.95F39 
Furtwdngler,  Adolf.     Masterpieces  of  Greek  Sculp- 
ture. Ref.  733F99 

19  photogravures  and  200  wood-cuts  show  classic  dress. 
Many  text  references  to  costume. 

Gironi,  R.  Costume  Ancien  et  Moderne  de  la 
Grece.  (In  Ferrario,  G.  Costume.  1815-29. 
Europe.     V.  1.     pt.  1-2.)  Ref.  F391F37 

153  colored  copperplates  include  ancient,  Byzantine,  and 
modern  Greek  costumes. 

Guhl,  E.  Life  of  the  Greeks  and  Romans,  Described 
from  Antique  Monuments.     1875.  913G94 

"  Dress,"  pp.  159-84.     20  outline  cuts. 

Gulick,  C.  B.     Life  of  the  Ancient  Greeks.     1903. 

913G97 

"  Clothing,"  pp.  153-78.     "  The  Warrior,"  pp.  188-205. 
Many  half-tones  and  cuts  of  dress. 

Harrison,  J.  E.     Greek  vase  painting.     1894. 

Ref.  738H31 

Black-and-white  illustrations,  introducing  classic  dress. 

Hope,  Thomas.  Grecian  costume.  (In  his  Costume 
ot  the  Ancients.  1841.  v.  1.  pp.  16-38;  v.  2, 
pp.  37-230.)  Ref.  391H79 

Outline  illustrations. 

Laurent,  P.  E.  Recollections  of  a  Classical  Tour 
through  Greece,  Turkey,  and  Italy,  in  1818  and 
1819.     2v.     1822.  Ref.  914L38 

4    hand-colored    plates,    showing    Greek    ladies,    Greek 
sailors,  etc. 

Menard,   Rene.     Costumes   de   la   Grece.     (In   his 


Vie  Privee  des  Anciens. 

87.) 

22  outline  illustrations. 


1881. 


pp.  271- 
F913M53 


St.  John,  J.  A.     History  of  the  Manners  and  Cus- 
toms of  Ancient  Greece.     3  v.     1842.         913S14 

"  Toilette,  dress,  and  ornaments,"  v.  2,  pp.  50-74.     See 
also  "  Costume  "  in  index,  v.  3. 


BIBLIOGRAPHY 


Page  One  Hundred  Sixty-three 


Seymour,  T.  D.     Life  in  the  Homeric  Age.     1907. 

913S52 

"  Dress  and  decoration,"  pp.  153-77.     "  Homeric  arms," 
pp.  629-82.     2  plates  and  17  cuts  of  dress  and  armor. 

Smith,   J.   M.     Ancient  Greek   Female   Costume. 

1882.  391S65 

112  outline  plates  and  many  smaller  illustrations  with 
explanatory  text. 

Timayenis,  T.  T.     Greece  in  the  Times  of  Homer. 
1885.  913T58 

"  Dress  and  ornaments,"  pp.  226-40. 

Tucker,  T.  G.     Life  in  Ancient  Athens;    the  social 
and  public  life  of  a  classical  Athenian.     1906. 

913T89 
Dress,  pp.  108-20,  167-74.     Several  cuts  of  costume. 

Uniforms  of  Greece.     (In  Koppen  F.  von.     Armies 
of  Europe,  illustrated.     1890.)  355K77 

Section  of  colored  plate,  showing  5  modern  Greek  uniforms. 

Guatemala 

Domville-Fife,  C.  W.     Guatemala  and  the  States  of 
Central  America.     1913.  972.8D67 

FrancJc,  H.  A.     Tramping  through  Mexico,  Guate- 
mala, and  Honduras.     1916.  917.2F82 

Maudslay,  A.  C.     Glimpses  at  Guatemala.     1899. 

Ref.  917.28M44 

Occasional    references    to    costume.     Photogravures    of 
costume  and  colored  plates  of  native  textiles. 

Haik.    See  Head-dress 
Hats.     See  Head-dress 


Hawaii 

Anderson,  Mrs.  Larz.  The  Spell  of  the  Hawaiian 
Islands.     1916.  919A54 

Baldwin,  C.  W.  The  Geography  of  the  Hawaiian 
Islands.     1908.  919.6B18 

Boyce,  W.  D.  United  States  Colonies  and  De- 
pendencies Illustrated.     1914.  325B78 

Browne,  G.  W.  Hawaii.  (In  his  New  America  and 
the  Far  East.     v.  1.     1907.)  910B882 

"  Dress,"  pp.  30-31.     9  colored  plates,  including  one  of 
children,  and  many  cuts  of  dress. 

Bryan,  W.  A.    Natural  History  of  Hawaii.     1915. 

996B91 

Castle,W.R.,J       Hawaii:  past  and  present.     1913. 

919.6C35 


Dunton,  Larkin.  The  World  and  its  People. 
Vol.  9.     Hawaii;   by  A.  S.  Twombly.     1899. 

J910.7D92T 
GerouM,  K.  F.     Hawaii:    scenes  and  impressions. 
1.916.  919.6G37 

Goodrich,  J.  K.     The  Coming  Hawaii.     1914. 

996G65 

La  Farge,  John.     Reminiscences  of  the  South  Seas. 

1912.  919.6L15 

Musick,J.R.     Hawaii :  our  new  possessions.     1898. 

919.6M98 

2  plates  of  native  costume. 

Olivares,  Jose  de.  Our  Islands  and  their  People. 
2  V.     1899.  Ref.  917.29B91 

Hawaii,  v.  2,  pp.  417-538.     Many  plates  (some  colored), 
and  other  illustrations  of  Hawaiian  costume. 

Stevens,  J.  L.     Picturesque  Hawaii.     1894. 

*  919.6S844 

Head-dress 

Becker,  W.  A.  Hair  and  Beard.  (In  his  Charikles. 
1845.     pp.  332-38.)  913B39Ch 

4  cuts  of  female  hair-dressing  of  Homeric  times. 

—  Same.     5th  ed.     1880.     (pp.  453-61.) 

Ref.  913B39C 

Child,     Theodore.     Wimples    and     Crisping    Pins: 

studies  in  the  coiffures  and  ornaments  of  women. 

1895.  391C53 

Ancient  Egypt  to  modern  times.     Many  wood-cuts  and 
half-tones. 

Description  de  Tons  les  Genres  de  Turbans  et  Coiffures 
Modernes  d'Egypte,  Syrie,  Turquie,  etc.  (In 
Magasin  Pittoresque.     1841.     pp.  4-6.) 

F054M18 

16  wood-cuts  of  modern  turbans. 
Dulaure,  J.  A.     Pogonologia;    or,  A  philosophical 
and  historical  essay  on  beards.     1786. 

Ref.  391D87 

No  illustrations. 

Fairholt,  F.  W.  Description  of  Head-dresses.  (In 
Merrifield,  Mrs.  M.  P.  Dress  as  a  Fine  Art. 
1854.     pp.  1-9,  53-60.)  Ref.  391M56 

3  plates  (43  figures)  of  styles  of  head-dress. 

—  Head-dress.  (In  his  Costume  in  England.  1846. 
(pp.  524-47.)  391F17C 

Illustrated  by  wood-cuts. 

—  Same.     1885.     (v.  2.     p.  217-53.) 

—  Same.     1896.     (v.  2.     p.  217-53.) 


Page  One  Hundred  Sixty -four 


BIBLIOGRAPHY 


Genin,  J.  N.  Illustrated  history  of  the  hat,  from 
the  earliest  ages  to  the  present  time.     1848. 

391G33 

Jones,  William.  Crowns  and  Coronations;  a  history 
of  regalia.     1883.  394J79 

Chaps.  1,  2,  and  11.     Cuts  of  crowns  and  coronets. 

Lichtcnfeld,  J.  Principles  of  Physiognomical  Hair- 
dressing,     n.d.  646L69 

21  illustrations,  wood-cuts. 

Moler,  A.  B.  Manual  on  Barbering,  Hairdressing, 
Manicuring,  etc.     1905.  391M71 

Musgravc,  George.  Nooks  and  Corners  in  Old 
France.     2  v.     1867.  914.4M987N 

"  Touraine  caps,"  v.  1,  p.  225. 

Ortner,  Jessica.    Practical  Millinery.     1892, 

646077 

Illustrated. 

Pauquet  freres.  Modes  et  Costumes  Historiques. 
.?1865.  Ref.  391P33 

The  96  colored  plates  are  valuable  for  French  head-dress, 
493-1864. 

Praga,  Mrs.  Alfred.  What  to  Wear  and  'Wlien  to 
Wear  it.     1903.  391P89 

Half-tones  of  head-dress  and  female  costumes. 

Quigley,  Dorothy.     WTiat  Dress  Makes  of  us.     1897. 

391Q6 

Includes  illustrated  discussion  of  hairdressing  and  head- 
dress. 

Repton,  J.  A.  Observations  on  the  Various  Fashions 
of  Hats,  Bonnets,  or  Coverings  for  the  Head, 
Chiefly  from  the  Reign  of  Henry  VHI  to  the 
18th  Century.  (In  Archteologia.  v.  24.  1832. 
pp.  169-89.)  Ref. 

8  steel  plates,  with  many  outline  figures  of  hats,  etc. 
Rhead,  G.  W.     Hats,  Caps,  and  Bonnets.     (In  his 

Chats  on  Costume.     1906.     pp.  205-77.) 

391R46 

Cuts  of  all  kinds  of  head-dress. 

Speight,  Alexanna.  A  Lock  of  Hair:  its  history, 
ancient  and  modern.     1871.  391S74 

Stewart,  James.  Plocacosmos;  or,  The  whole  art 
of  Hair-dressing.     1782.  Ref.  646S84 

9  copperplates. 

Winter,  F.     Die  Kamme  aller  Zeiten.     ?1906. 

Ref.  G391W78 

48  plates  (about  300  figures^,  with  notes  on  combs,  from 
the  Stone  Age  to  the  present. 

Hebrew  Costume.    See  Jewish  Costume 
Herzegovina.    See  Balkan  States 


Hindoostan.    See  India 
Holland.    See  Netherlands 
Hungary.    See  Austria-Hungary 

India 

Asiatic  Costumes.     44  engravings,  with  a  description 
to  each  subject.     1828.  391A83 

Engraved   from    drawings   taken   during   a   residence   in 
India. 

Birt,  F.  B.     Bradley-.     Chota  Nagpore;    a  little- 
known  province  of  the  Empire.     1903.     yi5.4B61 

About  20  half-tone  plates  of  costume. 

Conway,  M.  D.     My  Pilgrimage  to  the  Wise  Men 
of  the  East.     1906.  910C76 

7  half-tone  plates  of  Indian  costume,  mostly  religious. 

Crooke,  William.    Natives  of  Northern  India.    1907. 
(Native  races  of  the  British  Empire.)         572C94 

Frequent  text  references  to  costume.     32  plates  of  cos- 
tume. 


Things  Indian.     1906. 

Dress,  pp.  155-67;  jewelry,  pp.  287-91. 


915.4C94 


Curtis,  Lillian  J.     Laos  of  North  Siam.     1903. 

915.9C97 

Dress,  pp.  108-1 1^,  etc.     Half-tone  illustrations,  showing 
costume. 

Curtis,  W.  E.  Burma.  (In  his  Egypt,  Burma,  and 
British  Malaysia.     1905.     pp.  251-348.) 

910C98 

6  half-tone  plates  of  Burmese  costume. 

Del  Mar,  Walter.  Romantic  East,  Burma,  Assam, 
and  Kashmir.     1906.  915.9D33 

Costume  of  Burma,  pp.  8-9.     Several  half-tone  plates  of 
costume. 

Ferrario,  Giulio.  LTnde,  Appelee  Indostan,  et 
rindo-Chine.  (In  his  Costume.  1815-29.  Asie, 
V.  2.)  Ref.  F391F37 

92  colored  copperplates  of  Hindoo,  Burmese,  Siamese,  and 
other  costumes. 

Grindlay,  R.  M.  Scenery,  Costumes,  and  Architec- 
ture, Chiefly  on  the  Western  Side  of  India.     1830. 

R915.4G866 

Colored  engravings. 

Gurdon,  P.  R.  T.  The  Khasis.  1907.  (Ethno- 
graphical monograph,  published  under  the  orders 
of  the  Government  of  Eastern  Bengal  and  Assam.) 

572G97 

8  colored  and  11  monochrome  plates. 

Hart,  W.  H.  Everyday  Life  in  Bengal  and  Other 
Indian  Sketches.     1906.  915.4H32 

Illustrations  include  several  half-tones  of  costume. 


BIBLIOGRAPHY 


Page  One  Hundred  Sixty-five 


Hodson,  T.  C.  The  Meitheis.  1908.  (Ethno- 
graphical monograph,  published  under  the  orders 
of  the  Government  of  Eastern  Bengal  and  Assam.) 

572H69 

9    colored    and   7    monochrome   plates,    illustrating   this 
"  dominant  race  of  Manipur." 

India  and  the  War.     1915.  355139 

Has  colored  plates  of  military  costume. 

Jacob,  S.S.     Jeypore  Enamels.    1886.    Ref.  748J15 

Colored  frontispiece  of  Jeypore  enamellers. 

Kelly,  R.  T.     Burma,  Painted  and  Described.     1905. 

915.9K29 

Several  of  the  colored  plates  show  costume. 

Koenigsmarck,  Count  Hans  von.  A  German  Staff 
Officer  in  India.         1910.  915.4K78 

Gives  a  few  illustrations   (not  colored)   of  men  in  high 
rank. 

Malcolm,  Ian.  Indian  Pictures  and  Problems. 
1907.  915.4M24 

\bout  20  of  the  50  half-tone  plates  show  costume. 

Marston,A.W.     Children  of  India,     n.d.   915.4M37 

Many  wood-cuts  of  costumes. 

Menpes,  Dorothy.  The  Durbar.  Illustrated  by 
Mortimer  Menpes.     1903.  915.4M54 

Numerous  references  in  text  to  dress.      Most  of  the  100 
colored  plates  show  costumes  of  all  parts  of  India. 

Murray,  A.  H.  H.  High-road  of  Empire;  water- 
color  and  pen-and-ink  sketches  in  India.     1905. 

915.4M981 

Wood-cuts  and  colored  plates,  many  showing  dross. 

Norman,  Henry.  Peoples  and  Politics  of  the  Far 
East.     1895.  915N54 

Half-tone  plates  of  dress  of  Siam  and  Indo-China. 

—  Same.     1904. 

Penfield,  F.  C.  East  of  Suez  (Ceylon,  India,  China, 
and  Japan).     1906.  915P39 

Text  references.     A  number  of  the  plates  show  Indian 
costume. 

Penny,  F.  E.     Southern  India.     1914.      915.4P416 

Contains  colored  plates. 

Seesodia,  T.  S.  J.     The  Rajputs.     1915.      954S45 

Shoberl,  Frederic.  World  in  Miniature.  Hindoo- 
stan.     6  V.     1827.  Ref.  915.4S559 

Illustrated  by  103  colored  engravings. 

—  World  in  Miniature.  Thibet  and  India  beyond 
the  Ganges.     1827.  Ref.  915.18559 

12  colored  plates  of  costume. 

Singh,  S.  N.     India's  Fighters.     1914.  355S61 

Photographs  showing  soldiers'  costumes. 


Solvyns,  B.  The  Costume  of  Indostan  Elucidated 
by  Sixty  Colored  Engravings,  with  Descriptions 
in  English  and  French,  taken  in  the  Years  1798 
and  1799.     1804.  Ref.  391S69 

Stack,  E.  The  Mikirs.  1908.  (Ethnographical 
monograph,  published  under  the  orders  of  the 
Government  of  Eastern  Bengal  and  Assam.) 

572S77 

4  colored  and  4  monochrome  Illustrations  of  this  tribe  of 


Steel,  F.  A.  India.  Illustrated  by  Mortimer 
Menpes.     1905.  915.4S813 

Thompson,  P.  A.  Lotus  Land:  account  of  the 
country  and  the  people  of  southern  Siam.     1907. 

915.9T47 

See  "  Dress  "  in  Index.    7  plates,  including  2  of  children, 
of  Siamese  costume. 

Thurston,  Edgar.  Ethnographic  notes  in  southern 
India.     1906.  572T54 

"  On  dress,"  pp.  520-31.     40  half-tone  plates. 

Watson,  J.  F.  The  Textile  Manufacturers  and  the 
Costumes  of  the  People  of  India.     1866. 

Ref.  677W338 

Eight  plates  of  costume  illustrations. 

Young,  Ernest.  Siam.  With  12  full-page  illus- 
trations in  color  by  E.  A.  Norbury.  1908. 
(Peeps  at  many  lands  series.)  915.9 Y71P 

"  Food  and  dress,"  pp.  52-56. 

Yusef-Ali,  Abdullah.  Life  and  Labor  of  the  People 
of  India.     1907.  915.4A136 

Bridal    dress,    p.    271.     Dress    traditions,    pp.    312-15. 
Colored  frontispiece  and  4  other  plates  of  costume. 

Indians  of  North  America 

Berlin.  Royal  Museum.  North-west  Coast  of 
America:  ethnological  researches  of  the  Royal 
Museums  at  Berlin,     n.d.  Ref. 

The  lithographic  plates  include  head-dress  and  masks. 
Photogravures  of  Chilkat  blanket. 

Biart,  Lucien.  The  Aztecs:  their  history,  manners, 
and  cu.stoms.     1887.  972B57 

Clothing,  pp.  292-94. 

Bourke,  J.  G.  Snake-dance  of  the  Moquis  of 
Arizona.     1884.  970.3B77 

See  "  Costume  "  in  Index.     10  colored  plates  of  Moqui 
and  Navajo  costume. 

Catlin,  George.  0-kee-pa :  a  religious  ceremony  and 
other  customs  of  the  Mandans.     1867. 

Ref.  970.6C36 
Ceremonial  dress,  pp.  16-22.     Seven  of  the  colored  plates 
show  costume. 


Page  One  Hundred  Sixty-six 


BIBLIOGRAPHY 


Catlin,  George.  Notes  of  8  years'  travel.  With  his 
North  American  Indian  collection.     2  v.     1848. 

970.6C36N 

Many  outline  engravings  from  the  author's  original 
paintings  of  Indians. 

■ —  Illustrations    of    the    Manners,    Customs,    and 

Condition     of    the    North     American    Indians. 

9th  ed.     2  v.     1857.  Ref.  970.1C36I 

Many  notes  on  costume.  360  engravings  from  paintings 
by  autlior. 

Curtis,  Natalie.    Indians' Book.     1907.       970.1C97 

Text  does  not  treat  costume.  22  plates  from  photographs 
of  Indians  and  several  colored  plates,  showing  Indian  pictures 
of  apparel. 

Dellenbaugh,  F.  S.  North -Americans  of  Yesterday. 
1901.  970.1D35 

"  Weaving  and  costume,"  pp.  123-60.  Many  illustrations 
of  Indian  costume  and  ornament. 

Dodge,  R.I.     Our  Wild  Indian.     1882.        970.1D64 

"  Clothing,  finery,  and  personal  adornment,"  pp.  297-310. 
6  colored  plates  and  a  number  of  wood-cuts  of  costume. 

Ferrario,  Giulio.  L'Amerique.  (In  his  Costume. 
1815-29.     Am^rique.     v.  1.)  Ref.  F391F37 

Many  colored  copperplates  of  North  American  Indians. 

Harvey,  Fred.  First  Families  of  the  Southwest. 
1913.  970.6H34 

Contains  colored  illustrations  of  costume  of  various 
tribes  of  Pueblo  Indians. 

Hind,  H.  Y.  Explorations  in  the  Interior  of  the 
Labrador  Peninsula,  the  Country  of  the  Monta- 
gnais  and  Nasquapee  Indians.     2  v.     1863. 

917.19H66 

Chromo-lithographs  and  wood-cuts  of  trappers  and 
Indians. 

—  Narrative  of  the  Canadian  Red  River  Exploring 
Expedition  of  1857  and  of  the  Assiniboine  and 
Saskatchewan  Exploring  Expeditions  of  1858. 
2  v.     1860.  917.1H66 

Lithographs  and  wood-cuts  of  Canadian  Indians  and 
apparel  (v.  2). 

Hodge,  F.  W.  Handbook  of  American  Indians 
North  of  Mexico,  1907.  pt.  1,  A-M.  (U.  S. 
Burea-a  of  Ethnology,  Bulletin  30.) 

Ref.  970.1U58 

"Adornment,"  by  Alice  C.  Fletcher,  pp.  16-20;  "Cloth- 


ing," by  Walter  Hough, 
raphies. 


3.  310-12.     22  cuts  and  bibliog- 


Hooge,  Romeyn  de.  Costumes;  a  series  of  43  copper 
engravings  of  the  peoples  and  castes  of  different 
nations,     n.d.  Ref.  391H77 

Several  plates  of  North  American  Indians. 

Howard,  0.  0.  My  Life  and  Experiences  among 
our  Hostile  Indians.     1907.  BH851H 

13  colored  plates,  showing  dress  and  weapons. 


Humfreville,  J.  L.  Twenty  Years  among  our  Savage 
Indians.     1897.  970.1H92 

See    "  Dress  "    in    Index.     10    chromo-lithographs    and 
numerous  half-tone  cuts  of  Indian  costume. 

M'Kenney,  T.  L.  History  of  the  Indian  Tribes  )f 
North  America.     3  v.     1838-44. 

Ref.  970.1M155H 

120   colored   portraits   from    the   Indian   Gallery   in   the 
Department  of  War  at  Washington. 

Mason,  0.  T.  Aboriginal  American  Basketry.  (In 
U.  S.  National  Museum  Report.  1902.  pp. 
171-548.— U.  S.  Doc.  Serial  4549.)  Ref. 

248  plates,  including  29  of  Indian  women. 


Indian  Basketry.     2  v.     1904. 

The  same  work  as  the  preceding. 


Ref.  689M41 


Schoolcraft,  H.  R.  Information  Respecting  the 
History,  Condition,  and  Prospects  of  the  Indian 
Tribes  of  the  United  States.     5  v.     1853-56. 

Ref.  970.1U58S 

Costume,  v.  3,  pp.  65-6G;  v.  4,  pp.  58-59.  10  monotone 
lithographs  of  costume. 

—  Same.     v.  1-3.     1851-53. 

Several  of  the  plates  of  costume  in  this  edition  are  colored. 

Starr,  Frederick.  Indians  of  Southern  Mexico. 
1899.  Ref.  970.1S79I 

Photogravure  plates,  preceded  by  descriptions,  mostly 
showing  costume. 

Tout,  C.  Hill.  British  North  America,  v.  1.  The 
Far  West.     1907.  572T73 

Dress  and  personal  adornment,  pp.  63-88.  Most  of  the 
33  half-tone  plates  show  Salish  and  D6n6  costume. 

Tozzer,  A.  M.  Comparative  Study  of  the  Mayas 
and  the  Lacandones.  1907.  (Archseol.  Inst,  of 
America.  Report  of  the  Fellow  on  Amer.  Archaeol. 
1902-05.)  970.3T75 

Costume,  pp.  29-32. 

U.  S.  Census  Office.  11th  Census.  Report  on 
Indians  Taxed  and  not  Taxed  in  the  United 
States   (except  Alaska),   1890.     1894.  Ref. 

Statistical,  historical,  and  ethnographic  monographs  by 
Rrinton,  Donaldson,  Lord,  and  others.  Many  colored  and 
half-tone  plates  of  costumes  of  all  types  of  Indians. 


Same.     (In  U.  S.  Documents.     Serial  3016.) 


Indians  of  South  America 


Ref. 


(In 


Ferrario,     Giulio.     L'Amerique     Meridionale. 
his  Costume.     1815-29.     Amerique.     v.  2.) 

Ref.  F391F37 

Many  colored  copperplates  of  South  American  Indians. 


BIBLIOGRAPHY 


Page  One  Hundred  Sixty-seven 


Schmidimeyer,  Peter.  Travels  into  Chile,  over  the 
Andes,  in  the  Years  1820  and  1821.     1824. 

Ref.  918.3S35 

30  plates,  including  11  in  color.     4  show  Araucanos. 

United  States  Astronomical  Expedition  to  the  Southern 
Hemisfhere,  1849-52.  1856.  (U.  S.  33d  Con- 
gress, 1st  sess.  House  exec,  doc,  121.  Serial 
728.)  Ref. 

Note  on  Araucanian  dress  (v.  1,  pp.  67-6S),  with  colored 
plate  of  chief. 

Wright,  Mrs.  M.  R.  Primitive  Inhabitants  of 
BoHvia.     (In  her   Bolivia.     1907.     pp.  439-50.) 

Ref.  984W95 

16  half-tones  of  modern  Indian  costume. 

Ireland 

Birmingham,  G.  A.  (J.  O.  Hannay.)  Irishmen 
All.     1913. 

12  illustrations  in  color. 

—  The  Lighter  Side  of  Irish  Life.    1912.     914.15H24 

16  illustrations  in  color. 

Bonwick,  James.  Our  Nationalities.  1.  Who  are 
the  Irish.'     1880.  572B72 

Brief  historical  notes  of  Celtic  dress  and  ornament,  pp. 
69-76. 

Egerton,  M.  M.,  Countess  of  Wilton.  Toilette  in 
Ireland.  (In  her  Book  of  Costume.  1847.  pp. 
186-89.)  Ref.  391W75 

3  small  wood-cuts. 

Harvey,  William.  Irish  Life  and  Humor.  With 
illustrations  by  ErskineNicol.     1904.     914.15H34 

Joyce,  P.  W.  Social  History  of  Ancient  Ireland. 
2  V.     1903.  941.5J89S 

"  Dress  and  personal  adornment,"  v.  2,  pp.  176-263. 
21  illustrations  of  apparel,  mostly  from  ancient  MSS.  and 
sculpture. 

Meyrick,  S.  R.  Costume  of  the  Original  Inhabitants 
of  the  British  Islands.     1821.  Ref.  391M61 

Including  6  colored  plates  of  ancient  Irish  costume. 

0' Curry,  Eugene.  On  the  Manners  and  Customs  of 
the  Ancient  Irish.  Ed.  by  W.  K.  Sullivan.  3  v. 
1873.  913021 

Dress  and  ornament,  v.  1,  by  Sullivan;  v.  3,  pp.  87-211, 
Historical  summary. 

Sh-oberl,  F.  World  in  Miniature.  England,  Scot- 
land, and  Ireland.  Edited  by  W.  H.  Pyne.  4  v, 
1827.  Ref.  914.2S559 

2  colored  plates,  in  v.  4,  of  Irish  costume. 

See  also  England 


Italy 

Allom,  Thomas.  Character  and  Costume  of  Turkey 
and  Italy,  with  Descriptive  Letter-press  by  Emma 
Reeve,     n.d.  Ref.  914.96A44 

12  lithographic  plates  of  Italian  costume  of  about  1840. 

Bridgens,  Richard.  Sketches  Illustrative  of  the 
Manners  and  Costumes  of  France,  Switzerland, 
and  Italy.     1821,  R391B851 

Plates,  with  descriptive  text. 

Buonaiuti,  B.  S.  Italian  Scenery,  Representing 
the  Manners,  Customs,  and  Amusements  of  Italy. 
1823.  R914.5B94 

32  colored  plates. 

Carmichael,  Montgomery.     In  Tuscany.     1901. 

914.5C28 

11  small  half-tones  of  costume. 

Egerton,  M.  M.,  Countess  of  Wilton.  Costume  in 
Italy,  Sicily,  and  Malta.  (In  her  Book  of  Cos- 
tume.    1847.     pp.  315-34.)  Ref.  391W75 

11  wood-cuts. 

Ferrario,  Giulio.  Costume  des  Italiens.  (In  his 
Costume.     1815-29.     Europe,     v.  3,  pt.  1-2.) 

Ref.  F391F37 

General  sketch  of  the  history  of  Italian  costume.  141 
colored  plates,  mostly  showing  costume.  Plates  79  and 
80  show  uniforms  of  about  1820. 

Gifford,  Mrs.  A.  H.  Italy,  Her  People,  and  Their 
Story.     1905.  945G458 

Illustrated  from  portraits  and  famous  paintings. 

Goiran,  G.  Italian  Army.  (In  Armies  of  To-day. 
1893.     pp.  311-58.)  355M27 

12  cuts  of  uniforms. 

Gordon,  Lina  Duff.  Home  Life  in  Italy.  Letters 
from  the  Apennines.     1908.  914.5G66 

28  half-tone  illustrations,  chiefly  of  peasant  life. 

Koppen,  F.  von.  Italy.  (In  his  Armies  of  Europe, 
Illustrated.     1890.     pp.  42-45.)  355K77 

Double  colored  plates,  (7  figures,  including  1  of  naval 
uniform)  and  2  text  illustrations  of  uniforms  of  the  period. 

Molmenti,  P.  G.  Venice,  from  the  Earliest  Begin- 
nings to  the  Fall  of  the  Republic.  Tr.  by  H.  F. 
Brown.     6  v.     1906-08.  945M72 

"  Costume,"  v.  2,  pp.  1-22;  v.  4,  pp.  81-253;  v.  5,  pp- 
204-29.  A  few  colored  and  many  half-tone  plates  of  14th- 
18th  century  dress. 

Perl,  Henry.  Venezia.  From  the  German,  by  Mrs. 
Arthur   Bell.     1894.  Ref.  914.5P45 

Many  full-page  and  text  wood-cuts  of  Venetian  costume. 

Pinelli,  Bartolomeo.  Nuevo  Raccolta  di  Cinquanta 
Costumi.     1816.  RI391P65 

50  copperplates  of  Italian  costume. 


Page  One  Hundred  Sixty-eight 


BIBLIOGRAPHY 


Pinelli,  Bartolomeo.      Twenty-seven  Etchings  Illus- 
trative of  Italian  Manners  and  Costume.     18t4. 

R767P65T 


Sketch-book  by  an  American  in  Venice.     1860. 


391S62 


22  plates,  colored  by  hand.     No  text. 


Souvenir  de  St.  Lazare,  Venice,     n.d.     Ref.  271S72 

14  colored  plates. 

Steiler,  Karl,  and  others.  Italy,  from  the  Alps  to 
Mount  Etna.     n.d.  Ref.  914.5S85I 

Includes    a    number    of    wood-cuts    of    modern    Italian 
costume. 

Strutt,  A.  J.  Illustrations  of  a  Pedestrian  Tour  in 
Calabria  and  Sicily,     n.d.  Ref.  914.5S92 

Book  of  etchings. 

Tuker,  M.  A.  R.     Rome,  painted  by  A.  Pisa.     1905. 

Ref.  914.5T91 

Peasant  costumes,  in  color. 

Uniforms  of  the  Armies  of  the  Six  Great  Powers  of 
Europe.  (In  Standard  dictionary.  Sup.  1903. 
p.  2187.)  Ref.  423F98Su 

Vaughan,  H.  M.     The  Naples  Riviera,     n.d. 

914.5V36 

A  few  of  the  2.5  illustrations  in  color,  by  Maurice  Greiffen- 
hagen,  show  costume,  painted  in  1904. 

Zimmern,  Helen.     Italy  of  the  Italians.     1906. 

914.5Z76 

A  few  half-tones  of  modern  Italian  costume. 


Japan 

Anderson,  William..     Pictorial  Arts  of  Japan.     1886. 

Ref.  709A5O 

Includes  many  colored  plates,  photogravures,  and  wood- 
cuts of  costume  by  native  artists. 

Arnold,  Sir  Edwin.     Japonica.     1891.       915.2A75J 

Black-and-white  illustrations  of  Japanese  dress. 

Breton  de  la  Martiniere,  J.  B.  J.     Le  Japon.     4  v. 
1818.  F915.2B84 

Contains  51  engravings. 

Browne,  G.  W.     Japan.     (In  his  New  America  and 
the  Far  East.     1907.     v.  2-3.)  910B882 


Customs  and  costumes,  v.  2,  pp.  355-62.     18  plates  (12 
colored)  and  many  cuts  of  costume. 

—  Japan:  the  place  and  the  people.     1904. 

915.2B882 

Same  text  and  plates  as  preceding  work. 


Griffis,  W.  E.     Th(-  Mikado's  Empire.     1876. 

952G85M 

Includes  many  references  to  and  cute  of  costume. 

—  Same.  1883. 

—  Same.  1899. 

—  Same.  9th  ed.     1900. 

—  Same.  10th  ed.     1903. 

—  Same.  11th  ed.     1906. 

Hawks,  F.  L.  Narrative  of  the  Expedition  of  an 
American  Squadron  to  the  China  Seas  and  Japan, 
1852,  1853,  and  1854,  under  Com.  M.  C.  Perry. 
V.  1.  1856.  (U.  S.  33d  Cong.  2d  sess'  House 
exec.  doc.  v.  12.     Serial  No.  802.)    Ref.  915.2U58 

Many   wood-cuts   and    lithographed    plates    of   Japanese 
costume. 

Holland,  Clive.     Things  Seen  in  Japan.     1907. 

915.2H73 

50  half-tone  illustrations. 

Knox,  G.  W.  Imperial  Japan;  the  country  and  its 
people.     1905.  952K74 

Numerous  illustrative  plates  of  Japanese  women. 

Levati,  Ambrogio.  lies  du  Japon.  (In  Ferrario, 
G.  Costume.  1815.  Asie.  v.  1.  pp.  383- 
453.)  Ref.  391F37 

6  colored  copperplates  of  Japanese  costume. 

National  Geographic  Magazine.     Vol.  22. 

Ponting,  H.  G.     In  Lotus-land  Japan.     1907. 

915.2P81 

Numerous  colored  plates  and  photographs. 

Salwey,C.M.    Fans  of  Japan.    1894.    Ref.  391S18 

10  colored  plates  and  39  other  illustrations. 

Shoherl,F.     Japan.     1827.  R915.2S559 

20  colored  engravings. 

Silver,  J.  M.  W.  Sketches  of  Japanese  Manners  and 
Customs.     1867.  Ref.  915.2S58 

27  chromo-lithograph  fac-similes  of  native  drawings. 

Wilson,  H.  W.  Japan's  Fight  for  Freedom:  the 
war  between  Russia  and  Japan.     2  v.     1904-05. 

Ref.  951W74 


Jewelry 

Luihmer,  F.     Ornamental  Jewellery  of  the  Renais- 
sance in  Relation  to  Costume.     1882. 

R739L970 

Colored  plates.     No  text. 


BIBLIOGRAPHY 


Page  One  Hundred  Sixty-nine 


Jewish  Costume 

Abrahams,  Israel.     Jewish  Life  in  the  Middle  Ages. 

1897.  296A15 

"  Costume  in  law  and  fashion,"  pp.  273-90;  "  The  Jewish 
badge,"  pp.  291-306. 

De  Qnincey,  Thomas.  Toilette  of  the  Hebrew  Lady. 

(In    his   Collected  Writings.     1890.     v.    6,     pp. 

152-78.)  828D42 

No  illustrations. 

Levati,  Ambrogio.  Juifs.  (In  Ferrario,  G.  Costume. 
1817.     Asie.     V.  3.     pp.  70-172.)       Ref.  391F37 

3  colored  copperplates  of  ancient  Jewish  costume. 

NowacJc,  William,  and  others.  Costume.  (In  Jew- 
ish Encyclopedia.  1901-06.  v.  4.  pp.  292- 
303.)  Ref.  933S61 

Series  of  articles  on  Biblical  to  present-day  Jewish  dress, 
with  bibliographical  notes.  Double-page  colored  plates 
(30  figures)  and  17  wood-cuts. 

Pierotti,  Ermete.  Customs  and  Traditions  of 
Palestine,  Illustrating  the  Manners  of  the  Ancient 
Hebrews.     1864.  915.6P61 

Costume,  pp.  130-53. 

Stapfer,  Edmond.  Palestine  in  the  Time  of  Christ. 
1885.  933S79 

"  Clothing,"  pp.  190-201. 

See  also  Turkish  Empire 

Korea 

Bishop,   Mrs.   I.   B.     Korea   and   Her   Neighbors. 

1898.  915.1B62K 

See  "  Costumes  "  in  Index.  5  half-tone  plates  of  cos- 
tumes. 

Griffis,  W.  E.     Corea;   the  hermit  nation.     1882. 

915.1G85CE 

"  Costume,"  pp.  81,  273-76.     2  wood-cuts. 

Hamilton,  Angus.     Korea.     1904.  915.1H21 

Costume  in  Seoul,  pp.  35-40.  Several  half-tone  plates  of 
costume. 

Hulbert,H.n.     Passing  of  Corea.     1906.     951H91P 

Many  half-tone  plates  of  costume. 

Lowell,  P.  Choson:  the  land  of  the  morning  calm. 
1888.  915.1L91 

"  Costume,"  pp.  316-31.     Wood-cuts. 

Norman,  Henri/.  Peoples  and  Politics  of  the  Far 
East.     1895.  915N54 

Several  half-tones  of  Korean  costume. 

—  Same.     1905. 

See  also  China;  Japan 
Lapland.    See  Norway;  Russian  Empire 


Macedonia. 


Baijcan  States 


Malaysia 
Hurgronje,   C.  S.     The  Achanese.     Tr.   by  W.   S. 


O'SuUivan.     2  v.     1906. 


919.2H96 


Dress,  v.  1,  pp.  25-30.  See  also  "Apparel"  in  Index. 
Numerous  wood-cuts  and  half-tones,  showing  male  and 
female  costume. 

Shoberl,  Frederic.     World  in  Miniature.     The  Asia- 
tic Islands  and  New  Holland.     2  v.     n.d. 

26  colored  illustrations.  ReF.  919S559 

Skeat,  W.  W.     Pagan  Races  of  the  Malay  Peninsula. 
2  V.     1906.  572S62 

I  See  "  Dress  "  in  Index.     Many  half-tones  of  natives. 


Maori  Costume. 


New  Zealand 


Marriage  Costume.     See  Bridal  Costume 

Medleval  Costume 
Boutet  de  Monvel,  M.     Joan  of  Arc.     Illustrated  in 
.     color.     1897.  JBD214Bo 

Cutts,  E.  L.  Scenes  and  Characters  of  the  Middle 
Ages.     1885.  Ref.  940C99 

Costume  of  the  merchant  class,  pp.51 8-28.    Many  wood- 
cuts. 

Davies,  A.  C.  Fox-.  Art  of  Heraldry:  an  encyclo- 
paedia of  armory.     1904.  Ref.  929.2D25A 

Heraldic   costume,   pp.    12-32.     Plates    (5    colored)    and 
wood-cuts,  showing  heraldic  costume  and   armor. 

Gautier,  Leon.  Chivalry.  Translated  by  Henry 
Firth.     1891.  394G27 

Numerous  wood-cuts. 

Lacroix,  Paul.     Arts  in  the  Middle  Ages.     n.d. 

Ref.  709L14 

10  colored  plates  and  many  wood-cuts  of  costume. 

—  Costumes.  (In  his  Manners,  Customs,  and 
Dress  during  the  Middle  Ages.  n.d.  pp.  509- 
54.)  Ref.  940L14M 

Many  colored  plates  and  wood-cuts  of  costumf . 

—  Military  and  Religious  Life  in  the  Middle  Ages. 
n.d.       "  Ref.  940L14Mi 

Colored  plates  and  wood-cuts  of  dress  and  armor. 

—  Science  and  Literature  in  the  Middle  Ages.     1878. 

Ref.  940L14 

Most  of  the  wood-cuts  and   colored  plates  show  costume. 

Loemyer,  J.  F.  N.  Costume  de  Moyen  Age.  1847. 
2  V.  RF391L82 

Contains  colored  plates. 

Lonsdale,  H.   W.     Illustrations  of  Mediaeval  Cos- 
tume.    1874.  Ref.  391L86 
50  plates. 


Page  One  Hundred  Seventy 


BIBLIOGRAPHY 


Michaud,  J.  F.  History  of  the  Crusades.  2  v. 
n.d.  Ref.  940M62H 

100  plates  by  Gustave  Dor^. 
Munro,  D.  C.     History  of  the  Middle  Ages.     1902. 

940M96 
Many  of  the  half-tones  and  cuts  show  dress. 

Shaw,  Henry.  Dresses  and  Decorations  of  the 
Middle  Ages.     2  v.     1858.  Ref.  391S53 

From  Anglo-Saxon  times  to  end  of  16th  century.  Special 
attention  to  English  costume.  Many  colored  plates  and 
wood-cuts. 

Spalart,  Robert  von.  Versuch  iiber  das  Kostum  der 
vorziiglichsten  Volker  des  Mittelalters.  5  v. 
and    atlas.     1800-11.  RG391S73V 

Contains  colored  plates. 
Trumble,  Alfred.     Sword  and  Scimetar :  the  romance 
of  the  Crusades.     1886.  Ref.  940T86 

Plates  by  Gustave  Dor^,  showing  costume  and  armor  of 
the  Crusaders.  A  fuller  collection  of  plates  by  Dore  in 
Michaud's  Crusades. 

Viollet-Le-Duc,  E.  E.    Military  Architecture.     1879. 

623V79 

Many  wood-cuts  of  fortifications  and  weapons  of  the 
Roman  and  medieval  periods. 

Weiss,  Hermann.  Kostiimkunde;  Geschichte  der 
Tracht  und  des  Geraths  im  Mittelalter.  2d  ed. 
1883.  G391W42 

8  colored  plates  and  367  wood-cuts.     List  of  sources. 

See  also  under  the  various  countries 


Mexico 


917.2C32 


Carson,  W.  E.    Mexico.     1909. 

Contains  illustrations  showing  costume. 

Decaen,  J.  Mexico  y  sus  Alrededores.  Coleccion 
de  monumentos,  trajes  y  paisajes.  1864.  [Span- 
ish and  French  text.]  Ref.  S917.2D29 

47  lithographs  by  Mexican  artists;   of  value  for  costume. 

Ferrario,  Giulio.  Mexique.  (In  his  Costume. 
1815-29.     Am^rique.     v.  1.     pp.  501-625.) 

Ref.  391F37 

Colored  copperplates  of  Indian  and  Spanish  costumes,  from 
Aztec  times  to  1820. 

Garcia  Cubas,  A.  Republic  of  Mexico  in  1876. 
1876.  Ref.  917.2G21 

8  colored  plates  of  Spanish  and  native  types. 

Janvier,  Thomas.  Mexican  Army.  (In  Armies  of 
To-day.     1893.     pp.  359-96.)  355M27 

14  cuts  of  Mexican  uniforms  of  the  period. 

Plummer,  M.  W.     Roy  and  Ray  in  Mexico.     1907. 

917.2P73 

9  half-tone  plates  of  modern  costumes. 


Sierra,  J.  Mexico:  its  social  evolution.  Trans- 
lated from  the  Spanish  by  G.  Sentinon.  3  v. 
1900-04.  Ref.  972S57 

Many  half-tones,  some  of  which  show  costume  and  army 
uniforms. 

Starr,  Frederick.  Indians  of  Southern  Mexico. 
1899.  Ref.  970.1S79I 

Photogravures,  preceded  by  descriptive  text. 

See  also  Indians  of  North  America 
Montenegro.    See  Balkan  States 

Morocco 
Bensusan  and  Forrest.     Morocco.     1904.     916.4B47 

Illustrations.     Colored  piates. 

Nepal.    See  Tibet 

Netherlands 

Boughton,  G.  H.  Sketching  Rambles  in  Holland. 
1885.  914.92B75 

Illustrations  (wood-cuts),  by  Boughton  and  E.  A.  Abbey. 
More  than  50  of  costume. 

Edwards,  G.  W.     Holland  of  To-day.     1909. 

914.92E26 

Contains  colored  full-page  illustrations. 

Egerton,  M.  M.,  Countess  of  Wilton.  Toilette  in 
Holland.  (In  her  Book  of  Costume.  1847. 
pp.  311-14.)  Ref.  391W75 

3  wood-cuts. 

Ferrario,  Giulio.  La  HoUande  ou  Batavie.  (In 
his  Costume.  1815-29.  Europe,  v.  6.  pp.  23- 
172.)  Ref.  391F37 

Colored  plates  (14  figures)  of  17th  century  Dutch  dress. 

Higinbotham,  J.  W.     Three  Weeks  in  Holland  and 

Belgium.     1908.  914.92H63 

Jungmann,  Nico.     Holland.     1904.  914.92J95 


Many  references  to  costume, 
plates  show  dress. 


Most   of  the  75  colored 


Koppen,  F.  von.  Holland  and  Belgium.  (In  his 
Armies  of  Europe,  Illustrated.  1890.  pp.  69- 
70.)  355K77 

Colored  plates  (11  figures,  including  4  naval)  and  2  text 
illustrations  of  uniforms. 

Maaskamp,  E.  Afbeeldingen  van  de  Kleedingen, 
Zeden,    en    Gewoonten    in    Holland.     1803-05. 

Du39lMll 

21  colored  plates,  with  text  in  Dutch  and  French. 

Meldrum,  D.  S.    Home  Life  in  Holland.     1911. 

914.92M51H 

Costume  illustrations  at  pp.  170,  176  and  180. 


BIBLIOGRAPHY 


Page  One  Hundred  Seventy-one 


Shoberl,  Frederic.  World  in  Miniature.  The  Neth- 
erlands.    1827.  Ref.  914.92S55 

18  colored  engravings,  including  Belgium. 

New  Zealand 

Reeves,  W.  P.  New  Zealand.  Painted  by  F.  and 
W.  Wright.     Described  by  W.  P.  Reeves.     1908. 

993R33NW 

75  illustrations  in  color. 

Wakefield,  Edward.  New  Zealand  after  Fifty 
Years.     1889.  919.3W14 

3  half-tone  plates  of  Maoris. 

Normandy.    See  France 

Norway 

Bossi,  Luigi.  Costume  des  Norvegiens.  (In  Fer- 
rario,  G.  Costume,  1815-29.  Europe,  v.  6. 
pp.  260-91.)  Ref.  391F37 

DuChaillu,  P.  B.     Viking  Age.     2  v.     1889. 

948D82V 

Dress  of  men,  v.- 2,  pp.  285-300;    dress  of  women,  v.  2, 
pp.  301-31.     128  wood-cuts  of  dress  and  ornament. 

Egerton,  M.  M.,  Countess  of  Wilton.  Toilette  in 
Norway.  (In  her  Book  of  Costume.  1847. 
pp.  346-48.)  Ref.  391W75 

2  wood-cuts. 

Eyne,  C.  J.  C.  W.     Through  Arctic  Lapland.     1898. 

914.7H99 

Several  half-tone  plates  of  Lapp  costume. 

Jungmann,  Beatrice.  Norway.  Illustrated  by  Nico 
Jungmann.     1905.  914.8J95 

Scattered  references  to  costume.     About  30  colored  plates 
show  costume. 

Koppen,  F.  von.  Sweden  and  Norway.  (In  his 
Armies  of  Europe.     1890.     pp.  61-63.)     355K77 

Colored    plates    (6    figures)    and    2    text    illustrations    of 
uniforms. 

Monroe,  W.  S.  In  Viking  Land :  Norway,  its  peo- 
ples, its  fjords,  and  its  fjelds.     1908.        948M75 

Consult  Index  under  "  Dress."    Of  the  48  half-tone  plates, 
3  are  definitely  of  costumes. 

Pritchett,   R.    T.     "  Gamle  Norge  " :    rambles  and 


scrambles  in  Norwav.     1879. 


914.8P90 


Frequent    references    to,    and    several    illustrations    of, 
national  costume. 

Steele,  T.  S.     Voyage  to  Viking-Land.     1896. 

914.8S81 

S  half-tones  of  Norwegian  and  Lapp  costume. 

Tonsberg,    C.     Udvalgte    Norske    Nationaldragter. 
1852.  RD391T66 

15    colored    plates.     Text    in    Norwegian,  German,    and 
English. 


OCEANICA 

Brassey,  Lady.     Tahiti.     1882.  919.6B82 

Illustrations,  from  photographs,  including  G  of  costume. 

Elkington,  E.  W.     Savage  South  Seas:     1907. 

919.3E43S 

Most  of  the  68  colored  plates  show  native  costumes. 

Ferrario,  Giulio.  Ocean ique.  (In  his  Costume. 
1815-29.     Asie.     v.  4.     pp.  285-585.) 

Ref.  391F37 

Many  colored  copperplates  of  costume. 

Grimshaw,  Beatrice.  From  Fiji  to  the  Cannibal 
Islands.     1907.  919G86 

Many  half-tones,  plates,  and  insets  of  costume. 

Shoberl,  Frederic.  World  in  Miniature.  South 
Sea  Islands.     2  v.     n.d.  Ref.  919S72 

Illustrated  by  colored  engravings. 

Orders 

Lawrence- Archer,  J.  H.  The  Orders  of  Chivalry, 
English  and  Foreign.     1887.  R929.7L42 

Colored  illustrations  of  the'deeorations  and  insignia  of  the 
orders  of  Great  Britain  and  Europe. 

Palestine.     See  Turkish  Empire 

Peasant  Costume 

Aria,  Mrs.  E.  Of  British  Peasants.  Of  some  for- 
eign pea.sauts.  (In  her  Costume:  fanciful,  his- 
torical, and  theatrical.     1906.     pp.  115-46.) 

391A69 

2  colored  plates  and  10  half-tones. 

Colquhoun,  A.  R.  Whirlpool  of  Europe;  Austria- 
Hungary  and  the  Hapsburgs.     1907.      943.6C72 

About  40  half-tones  of  costume.     Peasant  costumes  have 
been  given  preference. 

Holme,  Charles.  Peasant  Art  in  Austria  and  Hun- 
gary.    1911.  709H74PE 

—  Peasant  Art  in  Italy.     1913.  709H74Ps 

—  Peasant  Art  in  Russia.     1912.  709H74Pr 

Illustrations  of  peasant  costume,  in  monotone. 

Lyall,  Robert.  Character  of  the  Russians,  and 
History  of  Moscow.     1823.  Ref.  914.7L98 

3  colored  plates  of  Russian   peasants. 

Schild,  Marie.  Old  English  Peasant  Costumes. 
1898.  391S33 

Persia 

De  Lorey,  Eustache.  Queer  Things  about  Persia. 
1907.  915.5L86 

"  Persian  women  and  their  dress,"  pp.  103-10.     17  of  the 
half-tone  plates  show  costume. 


Page  One  Hundred  Seventy-two 


BIBLIOGRAPHY 


Egerton,  M.  M.,  Countess  of  Wilton.  Toilette  in 
Persia.  (In  her  Book  of  Costume.  1847.  pp. 
432-40.)  Ref.  391W75 

3  wood-cuts. 

Ferrario,  Giulio.  Costume  Ancien  et  Moderne  des 
Perses.  (In  his  Costume.  1815-29.  Asie.  v.  3. 
pp.  382-596.)  Ref.  391F37 

About  20  colored  copperplates  of  ancient,  medieval,  and 
modern  Persian  costume. 

Jackson,  A.  V.  W.     Persia,  Past  and  Present.     1906. 

915.5J12 

More  than  20  of  the  illustrations  show  costume,  mostly 
modern. 

Shoberl,  Frederic.  World  in  Miniature.  Persia. 
3  V.     n.d.  Ref.  915.5S55P 

30  colored  engravings. 

Shoemaker,  M.  M.     Heart  of  the  Orient.     1904. 

915S55H 

3  plates  of  Persian  dress  (half-tones). 

Sparroy,  Wilfrid.  Persian  Children  of  the  Royal 
Family.     1902.  915.5S73 

20  half-tone  plates  of  costume. 

Wilson,  S.  G.     Persian  Life  and  Customs.     1895. 

915.5W75 

5  half-tone  plates  of  dress. 


Peru 

Skinner,    Joseph.      The    Present    State    of    Peru. 
1805.  918.5S62 

20  colored  plates  of  costumes,  etc. 

Wright,  M.  R.     The  Old  and  the  New  Peru.     1908. 

Ref.  985W95 

Infantry   uniform,   p.    170;     Marines,   p.    173;     Indians, 
chap.  36. 

Philippine  Islands 

Browne,    G.    W.     The   Philippines.     (In   his    New 
America  and  the  Far  East.     1907.     v.  1-2.) 

910B882 

v.  1,  pp.  208-19,  contains  many  references  to  costume. 
3  half-tone  plates  and  many  cuts  of  native  dress. 

Olivares,  Jose  de.     Our  Islands  and  their  People,  as 
Seen  with  Camera  and  Pencil.     2  v.     1899. 

Ref.  917.29B91 

Philippines,  v.  2,  pp.  549-768.     A  few  colored  plates,  and 
many  half-tones,  of  native  dress. 

Russel,  F.  K.     A  Woman's  Journey  through    the 
Philippines.     1907.  919.1R95 

Conault  Index.     8  plates  of  costumes. 


Sawyer,    F.    H.     Inhabitants    of    the    Philippines. 
1900.  919.1S27 

Many  references   (pp.   201-375)   to  dress.     Several  half- 
tone plates  of  native  dress. 


Worcester,  D.  C.  The  Philippine  Islands  and  Their 
People.     1898.  919.1W91 

3  plates  of  dress. 

Wright,  H.  M.    Handbook  of  the  Philippines.     1907. 

9I9.1W94 

Dress,  pp.  62-64.     Half-tone  plates,  with  small  figures  in 
costume.     Several  plates  of  children. 

Poland.    See  Russia 

Porto  Rico 

Browne,  G.  W.  Porto  Rico.  (In  his  New  America 
and  the  Far  East.     1907.     v.  6.)  910B882 

4  cuts  of  costume. 

Olivares,  Jose  de.  Our  Islands  and  Their  People. 
2  V.     1899.  Ref.  917.29B91 

Porto  Rico,  V.  1,  p.  257;  v.  2,  p.  416.     Colored  plates  and 
half-tones  show  costume. 

Portugal 

Bradford,  William.  Sketches  of  the  Country, 
Character,  and  Costume  in  Portugal  and  Spain. 
1812-13.  R914.6B79 

Contains  colored  plates,  including  military  costume. 

Egerton,  M.  M.,  Countess  of  Wilton.  Toilette  in 
Portugal.  (In  her  Book  of  Costume.  1847. 
pp.  297-301.)  Ref.  391 W75 

3  wood-cuts. 

Koppen,  F.  von.  Spain  and  Portugal.  (In  his 
Armies  of  Europe,  Illustrated.     1890.     p.  66.) 

355K77 

Section  of  colored  plates,  showing  5  figures  in  uniform. 

Shoberl,  Frederic.  World  in  Miniature.  Spain  and 
Portugal.     2  v.     n.d.  Ref.  914.GS55 

27  colored  engravings. 

Stephens,  H.  M.  Portugal.  1891.  (Story  of  the 
nations   series.)  9iG.9S83 

Several  of  the  wood-cuts  show  costume. 

Watson,  Gilbert.  Sunshine  and  Sentiment  in  Portu- 
gal.    1904.  914.69W33 

5  half-tone  plates  of  costume. 

Quakers 

Gummere,  A.  M.  The  Quaker:  a  study  in  costume. 
1901.  391G97 


BIBLIOGRAPHY 


Page  One  Hundred  Seventy-three 


Religious  Costume 

Biedenjeld ,  F.  L.  C,  Freiherr  von.  Ursprung, 
Aufleben,  Grosse,  Herrschaft,  Verfall  und  jetzige 
Zustande  sammtlicher  Monchs-  und  Kloster- 
frauen-Orden  im  Orient  iind  Occident.  2  v. 
1837-39.  G271B58 

Hand-colored   plates   of   77   religious   orders    (male   and 
female) . 

Costume,  Ecclesiastical.  (In  New  International  En- 
cycloptedia.     1902.     v.  5.     pp.  334-38.) 

Ref.  031I61GI 

Historical  and  descriptive,  with  plate  (8  figures),  3  wood- 
cuts, and  brief  bibliography. 

Costume,  Ecclesiastical.  (In  New  International 
Encyclopedia.     1914.     v.  6.) 

Currier,  C.  W.     History  of  Religious  Orders.     1894. 

271C97H 

Ilelyot,  P.  Album;  ou.  Collection  complete  et 
historique  des  costumes  de  la  cour  de  Rome. 
1862.  Ref.  F391P47 

80  colored  plates,  mostly  of  ecclesiastical  and  monastic 
costume. 

Lacroix,  Paul.  Military  and  Religious  Life  in  the 
Middle  Ages  and  at  the  Period  of  the  Renaissance, 
n.d.  Ref.  940L14Mi 

"  Monastic  dress,"   p.   308.     Many   colored   plates   and 
wood-cuts  of  ecclesiastical  dress. 


Monastic   Costumes,     n.d. 


R391M73 


A  scries  of  plates,  showing  various  monastic  costumes. 
Each  plate  is  accompanied  by  descriptive  letter-press  in 
Latin  and  Italian. 

Nainfa,  J.  A.  Costume  of  Prelates  of  the  Catholic 
Church,  according  to  Roman  Etiquette.     1909. 

247N15 

Many  illustrations,  not  colored.  Bibliography,  pp.  195- 
198. 

Picart,  Bernard.  Ceremonies  and  Religious  Cus- 
toms of  the  Various  Nations  of  the  Known  World. 
6  V,  in  3.     1733-36.  Ref.  265P58C 

V.  1-2,  Jews,  Roman  Catholics;  v.  3-4,  Idolatrous 
nations;  v.  5-6,  Greeks  and  Protestants,  English,  Moham- 
medans.    Many  copperplates  showing  religious  costumes. 

Thurston,  Herbert.  Clerical  Costume.  (In  Catho- 
lic Encyclopedia,     v.  4.     pp.  419-21.) 

Ref.  282C363 

Bibliography  of  12  titles. 

—  Pallium.  (In  Morris,  John.  Historical  Papers. 
1892.     V.  1.     pp.  85-116.)  270M87 

9  wood-cuts. 
TijacJc,  G.  S.     Historic  Dress  of  the  Clergy.     1897. 

247T97H 


Rome 


d\     Private  Life  of  the  Romans.     1808. 

913A74 

"  Of  clothing,"  pp.  154-2C0. 

Becker,  W.  A.  Gallus;  or,  Roman  scenes  in  the 
time  of  Augustus.     3d  ed.     1866.  913B39 

Dress,  pp.  98-109;  Dress  of  thn  men,  pp.  408-30;  Dress 
of  the  women,  pp.  431-50.  4  wood-cuts  of  male  and  one  of 
female  attire. 

—  Same.     9th  ed.     1888.  Ref.  913B39 

Costumi  di  Roma  e  dei  contorni.     1846.     RI391C84 

Colored  plates.     No  text. 

Egerton,  M.  M.,  Countess  of  Wilton.  Toilette  in 
Ancient  Rome.  (In  her  Book  of  Costume. 
1847.     pp.  335-45.)  Ref.  391W75 

5  wood-cuts. 

Friedlander,  L.  Moeurs  Romaines  du  Regne  d'Au- 
guste  a  la  fin  des  Antonins.     2  v.     1865-67. 

937F91 

Costume  and  armor  of  gladiators,  v.  2,  pp.  273-80. 

Guhl,  E.  Life  of  the  Greeks  and  Romans,  Described 
from  Antique  Monuments.     1875.  913G94 

"  Dress,"  pp.  476-501.     11  outline  cuts. 

Hope,  Thomas.  Costumes  of  the  Romans.  (In  his 
Costume  of  the  Ancients.  1841.  v.  1.  pp.  39- 
50;    V.  2,  pi.  232-300.)  Ref.  391H79 

Historical  and  descriptive.     69  outline  plates. 

James,  Constantin.  Toilette  d'une  Romaine  au 
temps  d'Auguste.     n.d.  F391J27 

Historical  and  descriptive  sketch  of  Roman  costume. 
Without  illustrations. 

Levati,  Ambrogio.  Costume  Ancien  et  Moderne  des 
Remains.  (InFerrario,  Giulio.  Costume.  1815- 
29.     Europe,     v.  2.     pp.  221-606.) 

Ref.  391F37 

General  historical  sketch  of  Roman  costume.  Many  of 
the  62  colored  plates  show  ancient  and  mediaeval  Roman 
costume.     Several  plates  of  Papal  costume. 

Menard,  Rene.  Le  Vetement.  (In  his  Vie  Privee 
des  Anciens.     1881.     v.  2.     pp.  288-300.) 

F913M53 

12  outline  illustrations. 

Perugini,  G.  Album;  ou.  Collection  ...  des  Cos- 
tumes de  la  Cour  de  Rome.  Deuxieme  ed. 
1862.  RF391P47 

80  colored  plates  of  uniforms  of  the  Papal  Court  and 
Roman  Catholic  religious  costume. 

Saunders,  C.     Costume  in  Roman  Comedy.     1909. 

391S25 

Monograph,  with  bibliography.     No  illustrations. 


Page  One  Hundred  Seventj^-four 


BIBLIOGRAPHY 


Wright,  T.  The  Celt,  the  Roman,  and  the  Saxon. 
1852.  913W95C 

Dress  of  Romans  in  Britain,  pp.  326-33.     3  cuts  of  orna- 
ments. 

RouMANiA.     See  Balkan  States 

Russian  Empire 

Atkinson,  J.  A.  Picturesque  Representation.s  of 
the  Manners,  Customs,  and  Amusements  of  the 
Russians.     3  v.  in  1.     1803.  Ref.  914.7A87 

100  colored  plates  of  all  classes  of  Russians.     Descriptive 
text  in  English  and  French. 

Breton  de  la  Martiniere,  J.  B.  J.  La  Russie;  ou, 
Moeurs,  Usages,  et  Costumes  des  Habitans  de 
Toutes  les  Provinces  de  cet  Empire.     6  v.     1813. 

F914.7B84 

Dohson,  George.  Russia,  Painted  by  F.  de  Haenen. 
1913.  914.7D63R 

—  St.  Petersburg.  Illustrated  by  F.  de  Haenen. 
1910.  914.7D63 

Egerton,  M.  M.,  Countess  of  Wilton,  Toilette  in 
Bokhara,  Circassia,  and  Cashmere.  (In  her  Book 
of  Costume.     1847.     pp.  441-48.)     Ref.  391W75 

3  wood-cuts. 

—  Toilette  in  Poland.  (In  her  Book  of  Costume. 
1847.     pp.  360-62.) 

4  wood- cuts. 

• — Toilette  in  Russia.  (In  her  Book  of  Costume. 
1847.     pp.  363-73.) 

7  wood-cuts. 

Eyries,  J.  B.  B.  La  Russie;  ou.  Costumes,  Moeurs, 
et  Usages  des  Russes.  (In  his  L'Angleterre. 
n.d.)  Ref.  F391E98 

Illustrated  by  colored  engravings. 
Ferrario,  Giulio.    Costume  Ancien  et  Moderne  de  la 
Russie   d'Europe.     (In   his    Costume.     1815-29. 
Europe,  v.  6,  pp.  1-162.)  Ref.  F391F37 

24   colored   co^perplate3,   mostly  of  costume.     Plates   7 
and  8  show  millitary  uniforms. 

—  Costume  des  Habitans  du  Caboul,  du  Tibet, 
Siberia,  etc.  (In  his  Costume.  1815-29.  Asie, 
V.  4.     pp.  1-282.) 

Colored  copperplates  of  costumes  of  Kabul,  Tibet,  Cau- 
casia, Turkey,  Turkestan,  Bokhara,  Siberia. 

—  Costume  des  Polonais.  (In  his  Costume.  1815- 
29.     Europe,     v.  6.     pp.  162-181.) 

1  colored  plate  of  Polish  costumes  (7  figures). 

Harding,  Edward.  Costume  of  the  Russian  Empire. 
1811.  R391H26 

72  colored  engravings. 


Holme,  Charles.     Peasant  Art  in  Russia.     1912. 

709H74PB 

Peasant  costumes. 

Koppen,  F.  von.  Russia.  (In  his  Armies  of  Europe. 
1890.     pp.  53-58.)  355K77 

Descriptive  notes.     2  double  colored  plates  ^lo  figures, 
including  1  naval),  and  6  text  illustrations  of  uniforms. 

Latimer,  E.  W.  Russia  and  Turkey  in  the  19th 
Century.     1895.  947L35 

8  plates  of  costume. 

Logan,  J.  A.,  Jr.     In  Joyful  Russia.     1897. 

914.7L85 

About  20  plates  of  Russian  costumes  and  uniforms. 

Lyall,  Robert.  Character  of  the  Russians,  and 
History  of  Moscow.     1823.  Rrf.  914.7L98 

3  colored  plates  of  Russian  peasant  costume. 

Michell,   Thomas.     Russian  Pictures.     1889. 

914.7M62 

Wood-cuts  of  costumes  of  the  empire. 

Molloy,  J.  F.  Russian  Court  in  the  18th  Century. 
2  V.     1905.  947M72 

'1  plates  of  costumss. 

Norman,  Henry.    All  the  Russias.    1902.    914.7N84 

Cuts  of  Finnish,  Russian,  and  Asiatic  types. 

Olufsen,  0.     Through  unknown  Pamirs.     1904. 

915.8052 

"  Clothing,"    pp.    63-72.     15    half-tone    cuts    of    Pamir 
costume. 

Pallas,  P.  S.  Travels  through  Southern  Provinces 
of  the  Russian  Empire  in  the  Years  1793  and  1794. 
2  V.     1802.  914.7P16 

Has  about  ten  colored  plates. 

Picturesque  Representations  of  the  Dress  and  Manners 


of  the  Russiaiis.     n.d. 


Ref.  391P61R 


64  colored  engravings  of  various  costumes  of  the  empire, 
made  1776-1779. 

Rechberg-Rothenloewen,   Karl,   Reichsgraf  von.     Les 
Peuples  de  la  Russie.     2  v.     1812-13. 

Ref.  F914.7R29 

Colored  plates  of  Slavic,  Finnish,  and  Tartar  types. 

Russian  Army.     (In  Armies  of  To-day.     1893.     pp. 
217-59.)  355M27 

13  cuts  of  modern  Russian  uniform. 

Seven  Colored  Plates  of  Russian  Costumes  of  Various 
Trades.     .^820.  R391S49 

Each  plate  is  mounted,  and  has  a  title   in   Russian,   Ger- 
man and  English. 

Shoberl,    Frederic.     World    in    Miniature.     Russia. 
4  V.     1827.  Ref.  914.7S559 

72  colored  engravings  of  Slavs,  Poles,  Asiatics,  etc. 


BIBLIOGRAPHY 


Page  One  Hundred  Seventy-five 


Singleton,  Esther.  Russia  as  Seen  and  Described 
by    Great    Writers.     1904.  914.7S61 

5  plates  of  costume. 

Spencer,  Edmund.  Travels  in  Circassia,  Krim- 
Tartary,  etc.     3d  ed.     2  v.     1839.         914.7S74 

Colored  frontispiece  and  several  small  cuts  of  dress. 

Stadling,  Jonas.  In  the  Land  of  Tolstoi:  experi- 
ences of  famine  and  misrule  in  Russia.     1897. 

914.7S77 

Many  wood-cuts    and    half-tones    of    Russian    costume, 
chiefly  peasant. 

Steveni,  W.  B.     Things  Seen  in  Russia.     1913. 

914.7S84T 

Contains  photographs  of  contemporary  costume. 

Stewart,  Ihigh.     Provincial  Russia.     1913. 

914.7S849 

32   illustrations  in   color   and   black-and-white,   showing 
costume. 

Uniforms  of  the  Armies  of  the  Six  Great  Powers  of 
Europe.  (In  Standard  Dictionary.  Sup.  1903. 
p.  2187.)  Ref.  423F98SU 

Section  of  colored  plates,  showing  IS  Russian  uniforms. 

Villari,  Luigi.  Fire  and  Sword  in  the  Caucasus. 
1906.  947V72 

Half-tone  plates   of  Cossack,   Georgian,   Armenian,   and 
Tartar  costume. 

Wibon,  H.  W.  Japan's  Fight  for  Freedom:  the 
story  of  the  war  between  Russia  and  Japan.  2  v. 
1904-05.  Ref.  951W74 

Many  half-tones,  showing  Russian  uniforms. 

Samoa 

Churchill,  L.  P.  Samoa  'Uma,  where  Life  is  Dif- 
ferent.    1902.  919.6C.56 

11  half-tone  plates  of  Samoan  costume. 

Hamm,  M.  A.     America's  New  Possessions.     1899. 

910H22 

7  half-tones  of  Samoan  dress. 

Olivares,  Jose  de.  Our  Islands  and  their  People. 
2  V.     1899.  Ref.  917.29B91 

Samoa,  v.  2,  pp.  539-47.     Half-tones  of  costume. 

Turner,  George.  Samoa  a  Hundred  Years  Ago  and 
Long  Before.     1884.  919.6T94 

"  Clothing,"  pp.  118-23.     2  wood-cuts  of  costume. 

Savoy 

Canziani,  Estella.  Costumes,  Traditions,  and  Songs 
of  Savoy.     1911.  *391C23 

Illustrated  with  47  colored  plates,  several  of  costume. 


Scotland 

Adam,  Frank.  Clans,  Septs,  and  Regiments  of  the 
Scottish  Highlands.     1908.  941A19C 

Has  13  plates  illustrating  Highland  garb,  and  colored 
plates  oftartans. 

—  What  is  my  Tartan.'*  The  clans  of  Scotland,  with 
their  septs  and  dependents.     1896.    Ref.  941A19 

Descriptive  notes  on  tartans,  arms,  badges,  etc.,  of  the 
various  clans. 

Bonwick,  James.  Our  Nationalities.  Who  are  the 
Scotch.^     1880.  572B72 

"  Old  Scotch  dress,"  pp.  130-32. 

Browne,  James.  History  of  the  Highlands  and  of 
the  Highland  Clans.     4  v.     1857-58.         941B88 

Colored  plates,  chiefly  in  v.  4,  of  principal  tartans. 

Campbell,  Lord  Archibald.  Children  of  the  Mist;  or. 
The  Scottish  clansmen  in  peace  and  war.     1890. 

941C18C 

Numerous  notes  on  costume.  Double-page  frontispiece, 
showing  Highland  and  English  uniforms  of  1745. 

—  [Craignish  tales,  and  others.]     1889.       398C187 

p.  84.  Notes  on  the  war  dress  of  the  Celt.  With  illus- 
trations. 

—  Highland  Dress,  Arms,  and  Ornament.     1899. 

914.1C187 

Many  half-tones  and  several  photogravures  of  uniforms 
and  arms. 

Egerton,  M.  M.,  Countess  of  Wilton.  Toilette  in 
Scotland.  (In  her  Book  of  Costume.  1847. 
pp.  176-85.)  Ref.  391 W75 

2  small  wood-cuts. 

Gibb,  William.  The  Royal  House  of  Stuart,  illus- 
trated from  relics  of  the  Stuarts.     1890. 

Ref.  920G438 

40  colored  plates,  some  showing  wearing  apparel.  4 
plates  show  regalia  of  Scotland. 

Graham,  H.  G.  Social  Life  of  Scotland  in  the  18th 
Century.     2d  ed.     1906.  914.1G73 

See  "  Dress  "  in  Index. 

Grierson,  E.  W.  Children's  Book  of  Edinburgh. 
1906.  941G84 

9  colored  plates  of  Scotch  dress  of  various  periods. 

Keltic,  J.  S.  History  of  the  Scottish  Highlands, 
Highland  Clans  and  Highland  Regiments.  2  v. 
1875.  Ref.  941K19 

Highland  dress,  v.  1,  pp.  300-03.  Illustrations  include 
colored  plates  of  clan  tartans  and  several  wood-cuts  showing 
dress. 


Page  One  Hundred  Seventy-six 


BIBLIOGRAPHY 


Levati,  Ambrogio.  Costume  des  Habitans  des  lies 
Britanniques.  (In  Ferrario,  Giulio.  Costume, 
1815-29,     Europe,  v,  6.     pp,  1-178.) 

Ref.  391F37 

Colored  copperplate  (plate  30)  shows  5  Scotch  costumes  of 
about  1820. 

Logan,  James.  Scottish  Gael:  or,  Celtic  manners 
as  preserved  among  the  Highlanders.     2  v,     1831, 

941L83S2 

"  Dress  of  the  ancient  Celts  and  costume  of  the  present 
Gael,"  V.  1,  pp.  217-72;  table  of  clan  tartans,  Appendix, 
V.  2,  pp.  401-08. 

Mclan,  R.  R.  Gaelic  Gatherings;  or.  The  High- 
landers at  home,     1848.     [reprinted  1900.] 

914,1L83 

21  colored  plates  of  costume. 

Mackintosh,  J.  Story  of  Scotland  from  the  Earliest 
Times  to  the  Present  Century,  illustrated. 
1899.  941M15 


Milne,  James.     Gordon  Highlanders,     1898. 


355M65 


Includes  half-tones  of  Highland  uniforms. 


Sanderson,  William.  Scottish  Life  and  Character. 
1904,  914.1S21 

See  pp.  86-88;    130-34.     12  plates  of  costume. 

Scottish  Clans  and  their  TaHans.     2d  ed,     1892. 

941S42 

Colored  plates  of  the  tartans. 

—  Same.     8th  ed.     1906. 

Shoberl,  Frederic.  World  in  Miniature.  England, 
Scotland,  and  Ireland.  Edited  by  W.  H.  Pyne. 
4  V.     1827.  Ref.  914.2S5o9 

4  colored  plates,  in  v.  4,  of  Scotch  costume. 

Stewart,  David.  Sketches  of  the  Character,  Man- 
ners, and  Present  State  of  the  Highlanders  of 
Scotland.     2  v.     1822,  355S84 

"  Highland  garb,"  v.  1,  pp.  75-80,  11.5-20. 

Stuart,  John  S.  S.  The  Costume  of  the  Clans. 
1892,  R391S93 

37  full-page  plates,  illustrating  the  history,  antiquities, 
and  dress  of  the  Highland  clans. 

Towry,  M.  H.     Clanship  aad  the  Clans.     1870. 

929T75 

"  Highland  garb  and  arms,"  pp.  12-16. 

See  also  England 
Serbia.     See  Balkan  States 


Shaicespearean  Costume 

Abbey,  E.  A.  Drawings  for  Shakespeare:  Midsum- 
mer Night's  Dream,  King. Lear,  King  Richard  IL 
King  John,  Romeo  and  Juliet,  King  Richard  III, 
Hamlet,  Othello.  (In  Harper's  new  monthly 
magazine,  vols.  91,  106,  107,  108  and  109.) 

051H29 

Bayard,  Emile.  Shakespeare's  "  As  you  Like  It." 
With  12  illustrations.     1887.  R822.3S52Asi 

Boocke,  R.  L.  Shakespearian  Costumes,  4  v, 
J  889-1892.  822.3B669 

Full-page  wood-cuts,  with  color  key.  The  library  has 
onIv4vols.:  "  All's  well  that  ends  well  ";  "  Twelfth  night  "; 
"  Taming  of  the  shrew  " ;   "  Hamlet." 

hoydell,  J.  and  J.     Boydell's  Graphic  Illustrations 

of  the  Dramatic  Works  of  Shakespeare,     1813, 

Ref,  822,3B78G 

Steel  plates  of  characters  in  costume. 

Brereton,  Austin.  Shakespearean  Scenes  and  Char- 
acters,    1886.  Ref,  822,3B84 

30  steel  plates  and  10  wood  engravings. 

Carter,    Thomas.     Stories   from    Snakespeare,     n.d, 

822,3S52Sto 

16  full-page  colored  illustrations. 

Crane,  Walter.  Shakespeare's  "  Merry  Wives  of 
Windsor,"  in  eight  pen  designs,     1894. 

R822.3C89 

Fitzgerald,  Percy  H.  Shakespearean  Representa- 
tion, its  Laws  and  Limits,     1908,  822,3Fo5 

Gerdme,   J.   L.     Scenes   from   Shakespeare.     1875. 

R822.3G37 

30  India  proof  engravings. 

GrUtzner,  E.  Shakespeare's  "  King  Henry  IV," 
two  parts.     1887.  R822.3S52H4Gi 

12  illustrations. 

Lacy,  T.  H.  Costume  Plates  for  the  "  Merchant  of 
Venice."     .^1862.  R822,3L15 

Linton,  Sir.  J.  D.  Shakespeare's  "  King  Henry 
VIII,"     1892,  R822.3S52H8LD 

12  illustrations. 

Shakespeare,  William.  Complete  Works;  rev,  from 
the  original  editions,  with  introductions  and 
notes  by  J,  O.  Halliwell  and  other  eminent  com- 
mentators,    9  V.     n.d.  822.3S52WR 

Many  steel  engravings  of  actors  in  costume. 

—  Dramatic  Works;  rev.  by  G.  Steevens.  6  v, 
1802.  Ref.  822.3S52Ds 

Plates  practically  the  same  as  in  Boydell. 


BIBLIOGRAPHY 


Page  One  Hundred  Seventy-seven 


Shakespeare,  William.      Tragedy  of  Hamlet,  Prince 
of  Denmark.     1897.  8^22.3S5^2Hac 

12  full-page  illustrations  by  H.  C.  Christy. 


Shakespeare  in  Pictorial  Art.     1916. 


S22.3S25 


Shakespeare's  "  Othello.''  Illustrated  by  Ludovic 
Marchetti.     .^895.  822.3So^20tu 

Smirke,  R.,  and  others.  Illustrations  of  Shake- 
speare's Plays,     n.d.  R822.3S641 

Fifty  original  designs  by  R.  Smirke,  T.  Stothard,  E.  II. 
Corbould,  etc.     Engraved  on  steel. 

Stone,  Melicent.  The  Bankside  Costume  Book  for 
Children.     1913.  391S87 

Has  52  illustrations  of  Shakespearian  men,  women,  and 
dress  accoutrements. 

Wilde,  Oscar.  Truth  of  Masks.  (In  his  Intentions 
and  the  Soul  of  Man.)     1908.  828W67I 

Essay  on  Shakespeare's  interest  in  and  use  of  costume. 

Wingate,  C.  E.  L.  Shakespeare's  Heroines  on  the 
Stage.     1875.  822.3W76S 

52  illustrations,  half-tones 

Shoes.     See  Foot-wear 
SiAM.     See  India 

South  America 

Carpenter,  F.  G.  South  America,  social,  industrial, 
and  political.     1900.  918C29s 

7  plates  (half-tones)  of  costumes. 

Forrest,  A.  S.     Tour  through  South  America.     1913. 

918F72 

Marcoy,  Paul.  Journey  across  South  America. 
2  V.     1873.  Ref.  918.oS13 

Incidental  notes  on  costumes.     Many  wood-cuts  of  native 
and  Spanish  costumes. 

Pritchard,  H.  V.  H.  Through  the  Heart  of  Pata- 
gonia.    1902.  918.2P94 

3  plates,  in  color  and  half-tone,  showing  Patagonian  dress. 

See  also  Indians  of  South  America 

Spain 

Adams,  W.  H.     Spain  and  its  People.     1872. 

9U.6A21 

Many  wood-cuts  of  Spanish  types. 

Bradford,  William.  Sketches  of  the  Country,  Char- 
acter, and  Costume  in  Portugal  and  Spain.  1812- 
13.  R914.6H79 

Contains  colored  plates,  including  military  costume. 


Calvert,   A.  F.     Spanish  Arms  and  Armor.     1907. 

399C16 

3S0  half-tone  illustrations  of  the  collection  in  the  Royal 
Armory  at  Madrid. 

—  Valladolid,  Oviedo,  Segovia.     1908.     9U.6C16V 

Plates  156-165  give  peasant  costumes  of  the  province  of 
Segovia. 

Cuendias,  Manuel  de.  L'Espagne;  Pittoresque, 
Artistique,  et  Monumentalc.     n.d.        F914.6C96 

Colored  illustrations,  and  others. 

Delineations  of  the  Most  Remarkable  Costumes  of  the 
Different  Provinces  of  Spain.     1823.        R391D35 

Colored  illustrations.     No  text. 

Egerton,  M.  M.,  Countess  of  Wilton.  Toilette  in 
Spain.  (In  her  Book  of  Costume.  1847.  pp. 
288-96.)  Ref.  391\V75 

4  wood-cuts. 

Fitz-GeraU,  J.  D.     Rambles  in  Spain.     1910. 

914.6F553 

Shows  several  costumes  of  peasants. 

Higgin,  Louis.  Spanish  Life  in  Town  and  Country. 
1902.  914.6H63 

See   "  Costume  "   and   "  Dress  "   in  Index.     7  half-tone 
plates  of  costume. 

Koppen,  F.  von.  Spain  and  Portugal.  (In  his 
Armies  of  Europe.     1890.     pp.  64-66.)     355K77 

Double  colored  plates  and  2  text  illustrations  of  uniforms. 

Penjield,  Edward.     Spanish  Sketches.     1911. 

914.6P39 

Colored  plates. 

Shoberl,  Frederic.  World  in  Miniature.  Spain  and 
Portugal.     2  v.     1827.  Ref.  914.6S55 

27  colored  engravings. 

Watts,  H.  E.     Christian  Recovery  of  Spain.     1894. 

946\V34 

costume,  especially  of  the  13th 


Has  illustrations  show! 
century. 


1902.  914.6Vv'72 


Williams,  L.     Land  of  the  Dons. 

13  plates  showing  national  dress. 

Sweden 


Afbildningar  af  Svenska  national  drdkter.     1908. 

R391A25 

Colored  plates. 

Bossi,  Luigi.  Du  costume  de  la  Suede.  (In  Fer- 
rario,  G.  Costume.  1815-29.  Europe,  v.  6. 
pp.  232-59.)  Ref.  391F37 

2  copperplates  (1  colored)  of  ancient  Swedish  costumes. 

—  Le  Costume  Ancien  et  Moderne  des  Scandinaves, 
des  Suedois,  etc.     1827.  *F914.8B74 

19  plates. 


Page  One  Hundred  Seventy -eight 

Egerton,  M.  M.,  Countess  of  Wilton.  Toilette  in 
Sweden.  (In  her  Book  of  Costume.  1847. 
pp.  349-0I.)  Ref.  391W75 

3  wood-cuts. 

Holme,  Charles.  Peasant  Art  in  Sweden,  Lapland, 
and  Iceland.     1910.  709H74P 

Illustrations  in  color  and  monotone. 

Koppen,  F.  von.  Sweden  and  Norway.  (In  his 
Armies  of  Europe.     1890.     pp.  61-63.)     355K77 

Colored  plates  (11  figures,  including  3  naval)  of  uniforms. 

Steveni,  W.  B.     Things  Seen  in  Sweden.     1915. 

914.8S84 

About  21   of  the  .50  photographic  reproductions  are  of 
costume. 

Thomas,  W.  W.,  Jr.  Sweden  and  the  Swedes. 
1893.  914.8T46 

8  plates  and  3  text  illustrations  of  ancient  and  modern 
Swedish  costumes. 

Switzerland 

Bridgens,  Richard.  Sketches  Illustrative  of  the 
Manners  and  Costumes  of  France,  Switzerland, 
and  Italy.     1821.  R391B851 

Plates,  with  descriptive  text. 

Egerton,  M.  M.,  Countess  of  Wilton.  Toilette  in 
Switzerland.  (In  her  Book  of  Costume.  1847. 
pp.  302-10.)  Ref.  391W75 

10  wood-cuts. 

Gauter,  Henri.  Histoire  du  Service  Militaire  des 
Regiments  Suisses  a  la  Solde  de  I'Angleterre, 
de  Naples,  et  de  Rome.     1902.  F356G21 

10  colored  plates,  showing  uniforms  of  Swiss  mercenaries. 

Koppen,  F.  von.  Switzerland.  (In  his  Armies  of 
Europe.     1890.     pp.  67-68.)  3o5K77 

Colored  plates  (7  figures)  of  uniforms. 

Levati,  Ambrogio.  Costume  Ancien  et  Moderne  des 
Helvetiens  ou  des  Suisses.  (In  Ferrario,  G. 
Costume.     1815-29.     Europe,  v.  4.     pp.  1-172.) 

Ref.  F391F37 

16   colored   copperplates   of   ancient   and   modern   Swiss 
costumes. 

Schweizer  Volkstracht;  die  Traehten  der  Cantone 
Aaran,  Appenzell,  Unterwalden,  Glarus,  Schaff- 
hausen,  und  Luzern,  auf  acht  sehr  .schonen 
Chromo-Lithographen  dargestellt.     1840. 

R391S41 

Story,  A.  T.  Swiss  Life  in  Town  and  Country. 
1902.  914.94S88 


BIBLIOGRAPHY 

Yosy,  A.  Switzerland.  With  representations  of  the 
dress  and  manners  of  the  Swiss.     2  v.     1815. 

Ref.  914.94Y65 

50  colored  engravings  of  costume. 

Theatrical  Costume 

Aria,  Mrs.  E.  Of  Theatrical  Dress.  (In  her 
Costume;  fanciful,  historical  and  theatrical. 
1906.     pp.  236-59.)  391A69 

2  colored  plates  and  7  half-tone  illustrations. 

Ferrario,  Giulio.  Costume  des  Italiens.  (In  his 
Costume.     1815-29.     Europe,     v.  3.,  pt.  2.) 

Ref.  F391F37 

Plates  120-22,  p.  877,  show  costumes  of  actors  and 
dancers  of  Italy. 

Galerie  Dramatique.  A  Paris,  chez  Martinet.  1796- 
1843.  R391G15 

50  copper  engravings,  in  color. 

Guillaumot,  A.  E.  Costumes  de  I'Op^ra,  Dix- 
septieme  au  dix-huiti^me  Si^cles.     1883. 

RF391G95C 

50  planches  fac-simi'e  &  I'eau-forte  en  couleurs. 

Harrison,  Charles.  Theatricals  and  Tableaux  Vi- 
vants  for  Amateurs.     1882.  793H31 

92  illustrations  of  stage  costume,  historical  and  fancy 
design. 

Jullien,  A.  Histoire  du  Costume  au  Theatre  depuis 
les  Origines  du  Theatre  en  France  jusqu'a  nos 
Jours.     1880.  F391J94 

24  plates,  partly  colored. 

Kobbe,  Gustav.  Opera  Singers :  a  pictorial  souvenir. 
1904.  920K756 

Photogravures.  "  A  series  of  costume  and  other  por- 
traits of  the  grand  opera  singers  best  known  to  American 
opera-goers  of  to-day." 

Krehbiel,  H.  E.     Chapters  of  Opera.     1908. 

782K92 

Of  the  70  half-tone  illustrations,  39  are  from  photographs 
of  opera  singers  in  costume. 

Lacy,  T.  H.  Female  Costumes,  Historical,  Na- 
tional, Dramatic.     1865.  R391L152C2 

—  Male  Costumes,  Historical,  National,  Dramatic. 
1868.  R391L152C1 

Contains  colored  plates.     No  text. 

Lumm,  E.  C.     Twentieth  Century  Speaker.     1898. 

808.5L95 

Colored  and  half-toneplates  of  costumes'and  poses. 

Mackay,  C.  D.  Costumes  and  Scenery  for  Amateurs. 
1915.  793M153C 


BIBLIOGRAPHY 


Page  One  Hundred  Seventy-nine 


Mantzius,  Karl.  History  of  Theatrical  Art.  5  v. 
1903-09.  792M29 

Plates  of  actors  in  costume. 

Mohisson,  F.  Costumes  of  the  Modern  Stage. 
1889-90.  391 M68 

Colored  plates. 

Paul,  Howard.  The  Stage  and  its  Stars,  Past  and 
Present.  A  gallery  of  dramatic  illustration  and 
critical  biographies  of  distinguished  English  and 
American  actors,  from  the  time  of  Shakespeare 
till  to-day.     2  v.     1887. 

128  photogravure  portraits  and  scones  from  steel  plates 
and  over  400  portraits  in  the  text.     Useful  for  costume. 

Scott,  Clement.  Drama  of  Yesterday  and  To-day. 
2  V.     1899.  792S42 

Illustrations  of  actors  in  costume. 

Seidl,  Anton.  Music  of  the  Modern  World.  2  v. 
1895.  Ref.  780S45 

Many  colored  and  half-tone  plates  of  singers  and  operatic 
characters  in  costume. 

Stone,  Milicent.  The  Bankside  Costume  Book  for 
Children.     1913.  391S87 

Has    52   illustrations    for   representing   historical   plays, 
especially  those  of  Shakespeare. 

Tibet 

Crosby,  0.  T.     Thibet  and  Turkestan.     1905. 

915.8C94 

Several  of  the  half-tone  plates  show  costume. 

Landor,  A.  H.  Savage-.  Tibet  and  Nepal,  Painted 
and  Described.     1905.  915L26 

Over  30  colored  plates  show  costumes  of  Tibet  and  Nepal. 

Sherring,  C.  A.  Western  Tibet  and  the  British 
Borderland.     1906.  915.1S55 

See  "  Dress  "  in  Index.    Many  half-tones  in  text  show  cos- 
tume. 

Shoberl,  F.  The  World  in  Mmiature.— Tibet  and 
India   beyond    the    Ganges.     1827.     R915.1S559 

12  colored  plates  of  costumes. 

Troubadours 

Rowbotham,  J.  F.  Troubadours  and  Courts  of 
Love.     1895.  914.2R87 

"  Dress  of  the  troubadours,"  pp.  108-70.     7  outline  cuts 
of  troubadour  and  minstrel  costume. 

Smith,  J.  H.     Troubadours  at  Home.     2  v.     1899. 

849S65 

"  Their  attire,"  v.  1,  pp.  168-69.     See  also  "  Costume  " 
in  Index.     A  few  wood-cuts  of  dress. 

TxJNis.    See  Africa 


Turkish  Empire 

Addison,  C.  G.  Damascus  and  Palmyra.  2  v. 
1838.  ^  915.6A22 

10  colored  plates  of  costume. 

Allom,  Thomas.  Character  and  Costume  in  Turkey 
and  Italy,     n.d.  R914.96A44 

10   lithographic   plates   of    Turkish   costume    about   the 
year  1840. 

Amicis,  E.  de.  Constantinople.  Tr.  by  Caroline 
Tilton.     1878.  914.96A51 

"  Costume  "  [male],  pp.  104-0.5;      "  Turkish  women,"  pp. 
20G-37. 

Bell,  G.  L.     The  Desert  and  the  Sown.     1907. 

915.6B43 

Colored  frontispiece,  by  Sargent,  of  Bedouins  and  many 
half-tones  of  the  different  races  of  Palestine. 

Copping,  Harold.  The  Gospel  in  the  Old  Testament. 
A  series  of  Pictures  by  Harold  Copping.  With 
descriptive  letterpress  by  H.  C.  G,  Moule.     1908. 

Ref.  221C78 

24  illustrations  in  color. 

Costume  of   Turkey.     1802. 


R391C842. 

Illustrated  with  colored  engravings,  with  descriptions 
in  English  and  French. 

Dupre,  L.  Voyage  k  Ath^nes  et  h  Constantinople. 
1825.  Ref. 

Colored  plates  of  costumes  of  Constantinople,  with  text 
in  French. 

Egerton,  M.  M.,  Countess  of  Wilton.  Toilette  in 
Palestine  and  Syria.  (In  her  Book  of  Costume. 
1847.     pp.  465-75.)  Ref.  391W75 

2  wood-cuts. 

—  Toilette  in  Turkey,  Wallachia,  etc.  (In  her 
Book  of  Costume.     1847.     pp.  374-87.) 

7  wood-cuts. 

Eyries,  J.  B.  B.  La  Turquie,  ou,  Costume.-j,  Moeurs, 
et  Usages  des  Turcs.     (In  his  L'Angleterre.    n.d.) 

Ref.  F391E98 

Illustrated  by  colored  plates. 

Ferrario,  Giulio.  Costume  des  Peuples  de  I'Asie 
Mineure.  (In  his  Costume.  1815-29.  Asie. 
V.  3.     pp.  263-348.)  Ref.  391F37 

Colored  copperplates  of  costumes  of  Phrygia,  Troy, 
Lydia,  Lycia,  Cilicia,  Pontus,  Armenia,  and  other  ancient 
districts  of  Asia  Minor. 

Hamdi,  Osman,  bey.  Les  Costumes  Populaires  de 
la  Turquie  en  1873.  RF391H21 

74  plates,  illustrative  of  the  costumes  of  people  in  Turkey 
in  Europe,  the  isiund.s  of  the  Ottoman  Empire,  and  in  Turkey 
in  Asia. 

Howe,  Fisher.  Oriental  and  Sacred  Scenes  in  Greece, 
Turkey,  and  Palestine.     1856.  915.6H85 

Text  contains  several  references  to  costume.  6  colored 
plates  of  typical  costume. 


Page  One  Hundred  Eighty 


BIBLIOGRAPHY 


Jessup,  H.  H.     Syrian  Home-life.     1874.     915.6J58 

"  Dress,"  pp.  28-3S.     3  wood-cuts. 

—  Women  of  the  Arabs.     1873.  915.6J58W 

Incidental  notes  on  dress.     A  few  wood-cuts  of  costumes, 
male  and  female,  of  Palestine. 

Kelman,J.     The  Holy  Land.     1902.  915.6K29 

Including  colored  plates  of  Syrian  peasants  and  Arabs. 

Koppen,  F.  von.  Turkey  and  the  States  of  the  Bal- 
kan Peninsula,    (in  his  Armies  of  Europe.    1890.) 

355K77 

Pp.  73-75.     Section  of  colored  plates  (5  figures)  and  4  text 
illustrations  of  uniforms. 

Latimer,  E.  W.  Russia  and  Turkey  in  the  19th 
Century.     1895.  947L35 

Several  portraits  showing  Turkish  uniforms. 

Laurent,  P.  E.  Recollections  of  a  Classical  Tour 
through  Various  Parts  of  Greece,  Turkey,  and 
Italy,  in  1818  and  1819.     2  v.     1822. 

Ref.  914L38 

4  hand-colored  plates,~showing  Turkish  women  and  girls, 
etc. 

Macbean,  F.  Sketches  in  Character  and  Costume 
in  Constantinople,  Ionian  Islands,  etc.     1854. 

R914.96M11 

No  text  except  short  descriptions  of  the  plates. 

Magnetti,  Carlo.  Costume  de  I'Empire  Ottoman. 
(In  Ferrario,  Giulio.  Costume.  1815-29.  Eu- 
rope.    V.  1,  pt.  3.)  Ref.  F391F37 

Nearly   60   colored   copperplates   of  costumes,   including 
the  present  Balkan  States. 

Mayer,  Luigi.  Views  of  the  Ottoman  Domains  in 
Europe,  in  Asia,  and  some  of  the  Mediterranean 
Islands.     1810.  Ref.  915.6M46 

Colored  plates  of  costumes  of  the  Turkish  Empire,  in- 
cluding also  Sicily,  Tripoli,  and  the  Balkan  States. 

Millingen,  A.  van.  Constantinople;  painted  by 
Goble.     1906.  949.GM655 

Colored  plates  of  Turkish  costume. 

Monroe,  W.  S.     Turkey  and  the  Turks.     1907. 

949.6M753 

Consult  "  Dress  "  in  Index.     16  half-tones  show  costumes. 

Neil,  James.  Everyday  Life  in  the  Holy  Land. 
1913.  915.6N39 

Contains  colored  pictures. 

Picturesque  Representations  of  the  Dress  and  Manners 
of  the  Turks.  Illustrated  in  60  colored  engravings, 
with  descriptions,     n.d.  Ref.  391P61 

Turks,  Albanians,  Arabs,  and  Armenians. 

Rogers,  M.  E.     Domestic  Life  in  Palestine.     1863. 

915.6R72 

See  "  Costume  "  in  Index. 


Shoberl,  F.  World  in  Miniature.  Turkey.  6  v. 
1827.  Ref.  914.96S55 

73  colored  engravings,  showing  about  150  costumes  of 
the  Empire. 

Singleton,  Esther.  Turkey  and  the  Balkan  States, 
as  Described  by  Great  Writers.     1908.     949.6S61 

40  half-tone  plates,  many  useful  for  costume. 

Spry,  TV.  J.  J.     Life  on  the  Bosphorus.     1895. 

914.96S77 

34  portraits  of  caliphs  and  sultans,  and  other  plates  of 
costume. 

Van  Lennep,  H.  J.  Oriental  Album.  Twenty 
illustrations,  in  oil  colors,  of  the  people  and 
scenery  of  Turkey;  with  an  explanatory  and 
descriptive  text.     1862.  Ref.  914.96V25 

Folio  lithograph  plates,  showing  Turkish  and  Armenian 
costumes. 

Wilkie,  Sir  David.  Sketches  in  Turkey,  Syria,  and 
Egypt,  1840  and  1841.  Drawn  on  stone  by 
Joseph    Nash.     1843.  Ref.  741W68 

52  folio  lithograplis,  in  monotone. 

Tyrol.    See  Austria-Hungary;  Switzerland 

United  States 

Avery,  E.  M.  History  of  the  United  States.  16  v. 
1907.  973A95 

Fully  illustrated.  Vol.  6  is  good  for  colored  illustrations 
of  Colonial  costumes,  military  and  civil. 

Earle,  Alice  M.     Child  Life  in  Colonial  Days.     1899. 

390E12 

Many  half-tones,  from  photographs,  of  children's  dress. 

—  Costume  of  Colonial  Times.     1894.  391E12 

Historv  of  Colonial  Dress,  pp.  3-42;  Dictionarv  of  Terms, 
pp.  45-264. 

—  Dress  of  the  Colonists.  (In  her  Home  life  in 
Colonial  Days.     1898.     pp.  281-99.)       917.3E12 

6  cuts  of  costumes. 

—  Two  Centuries  of  Costume  in  America,  1620- 
1820.     2  V.     1903.  Ref.  391E12T 

Many  half-tone  plates  and  wood-cuts  of  all  kinds  of 
costume.     List  of  illustrations,  with  descriptive  notes. 

Eggleston,  Edward.  Household  History  of  the 
United  States  and  its  People.     1889.         973E29 

Colored  plates  of  colonial  costumes,  uniforms  of  1776- 
1864,  and  Confederate  uniforms.  Many  vignettes  of  cos- 
tumes, 1492-1880. 

Goodunn,  M.  W.  Colonial  Cavalier;  or,  Southern 
Life   before   the   Revolution.     1894.       917.5G65 


"  His  dress,"   pp.   75-£ 
dress. 


A  few  wood-cuts  of  Coloni; 


Harvey,    Fred.     First   Families   of   the    Southwest. 
1913.  970.6H34 

32  colored  plates  of  Indians,  their  pottery,  basketry,  etc. 


BIBLIOGRAPHY 

Jennings,  P.     A  Colored  Man's  Reminiscences  of 
James    Madison.     1865.  BM182J 


Extra  illustrations, 
fashions  in  Madison's 
Repository. 


i-ith    2fi    colored    plates,      showing 
time.     Plates     from     Ackermann's 


McClellan,   Elizabeth.     Historic  Dress  in  America, 

1607-1800.     With  chapter  on  dress  in  the  Spanish 

and  French  settlements  in  Florida  and  Louisiana. 

904.  Ref.  391M13 

383  illustrations,  colored  plates,  half-tones,  and  wood- 
cuts.    Bibliography. 

—  Historic  Dress-  in  America,  1800-1870.     1910. 

R301M1^2H 

Continuation  of  the  above.     Includes  a  bibliography. 

Singleton,    Esther.     Costumes    of  Men.     (In    her 

Social    New    York    under    the  Georges.     190^2. 

pp.  171-97.)  917.471SG1 

6  half-tones  of  articles  of  dress. 

—  Dress  of  Women.     (In  Same.     pp.  201-56.) 

917.471S61 

Several  half-tones  of  apparel. 

Wharton,  A.  II.  Social  Life  in  the  Early  Republic. 
1902.  390W55S 

Colored  frontispiece,  and  many  half-tone  portraits,  of 
1790-1850. 

United  States.     Military  axd  Naval  CosTL'iiE 

Archibald,  J.  F.  L.     Blue  Shirt  and   Khaki.     1901. 

355A67 

Many  half-tones  of  English  and  American  soldiers. 

Bennett,  F.  M.  L^niforms  and  Corps  Devices  of  the 
Engineer  Corps.  (In  his  Steam  Navy  of  the 
United  States.     1896.     pp.  713-31.)         359B47S 

Bolton,  C.  K.  Private  Soldier  under  Washington. 
1902.  973.3B69 

Uniforms,  pp.  89-104,  and  double  half-tone  plates  showing 
uniforms  and  plate  showing  hunting  shirt. 

Eggleston,  Edward.  Household  History  of  the 
United  States  and  its  People.     1889.         973E29 

2  colored  plates  of  U.  S.  uniforms,  1776-1865,  and  1 
colored  plate  of  Confederate  uniforms,  with  several  vignettes 
of  uniforms. 

Logan,  J.  A.     Volunteer  Soldier  of  America.     1887. 

355  L83 

Colored  frontispiece,  and  several  wood-cuts  of  uniforms. 

McClellan,  Elizabeth.  Uniforms  in  America,  1775- 
1800.  (In  her  Historic  dress  in  America.  190-t. 
pp.  340-77.)  Ref.  391M12 

Half-tones  of  Continental  uniforms  of  army  and  navy. 

Merritt,  Wesley.     Army  of  the  United  States.     (In 
Armies  of  To-day.     1893.     pp.  1-55.)        355M57 
4  cuts  of  uniforms  of  the  period. 


Page  One  Hundred  Eighty-one 

Nelson,  H.  L.     Army  of  the  United  States.     1889. 

Ref.  355N42 

Same  plates  as  in  "  U.  S.  army  Q.-M.  G. — Uniform  of  the 
Army  of  the  U.  S." 

Rodenbaugh,  T.  F.  From  Everglade  to  Canon  with 
the  2d  Dragoons.   1836-75.     1875.  355R68 

5  chromo-lithographs  of  cavalry  uniforms,  1836-75,  and 
4  wood-cuts  of  French  cavalrymen. 

Smith,  J.  H.  Historic  Booke,  to  Keep  in  remem- 
brance the  meeting  of  the  Honourable  Artillery 
Company  of  London  and  the  Ancient  and  Honor- 
able Artillery  Company  of  the  Massachusetts, 
Boston,  1903.     1903.  Ref.  358S65 

Plates  and  cuts,  showing  uniforms  of  17th-19th  centuries. 

Uniforms  of  the  Army  of  the  United  States.  (In 
Standard  Dictionary.     Sup.  1903.     p.  2187.) 

Ref.  423F98SU 

Colored  plates,  showing  27  uniforms  of  1903. 

United  States  Army.  Quartermaster-general.  Uni- 
form of  the  Army  of  the  United  States,  1882. 
1882.  Ref.  355U58 

Lithographed  plates  of  uniforms.     Several  cuts  of  details. 

United  States  Army.  Uniform  of  the  Army  of  the 
United  States.  Illustrated  from  1774  to  1889. 
1890.  Ref.  355U58U 

44  colored  plates.     Key  to  plates  and  descriptive  text. 

United  States  Marine  Corps.  Uniform  Regulations. 
Together  with  uniform  regulations  common  to 
both  U.  S.  Navy  and  Marine  Corps.     1913. 

R355U58MU 

United  States.  Navy  Dcpt.  Regulations  govern- 
ing the  uniform  of  commissioned  officers,  warrant 
officers,  and  enlisted  men  of  the  Navy  of  the 
United  States.     1880.  Ref.  355U58N 

54  lithographed  plates  of  uniforms. 

Wagner,  A.  L.  L'nited  States  Army  and  Navy, 
from  the  era  of  the  Revolution  to  the  close  of 
the  Spanish-American  war.     1899. 

Ref.  355W130U 

Lithographs  of  military  a;  d  naval  uniforms,  1776-1899. 

Walton,  W.  G.,  and  others.     Army  and  Navy  of  the 

United  States,  from  the  period  of  the  Revolution 

to  the  present  day,     12  pts.     1889-95. 

Ref.  353.6W24 

44  colored  plates,  mounted,  with  duplicate  etchings,  and 
many  other  etchings  and  photogravures  of  military  and  naval 
uniforms. 


Page  One  Hundred  Eighty-two 


BIBLIOGRAPHY 


Zoghaum,  R.  F.  Across  Country  with  a  Cavalry 
Column.  And,  With  the  Bluecoats  on  the 
Border.  (In  his  Horse,  Foot,  and  Dragoons. 
1888.     pp.  100-17G.)  355Z85 

?,5  plates  and  cuts  of  uniforms  of  the  period. 

Venice.     See  Italy 

Wales 

Bradley,  A.  G.  Highways  and  Byways  in  North 
Wales.  Illustrated  by  J.  Pennell  and  H.  Thom- 
son.    1898.  914.29B81 

6  wood-cuts  of  costume. 

Davies,  D.     John  Vaughan  and  his  Friends.     1897. 

914.29D255 

Several  cuts  of  Welsh  costume. 

Egerton,  M.  M.,  Countess  of  Wilton.  Toilette  in 
Wales.  (In  her  Book  of  costume.  1847.  pp. 
190-91.)  Ref.  391 W75 

Rhys,  John.     Welsh  People.     1900.  942.9R47 

Dress  [ancient],  p.  251;   [modern],  565-70.  ^ 

Trevehjan,  M.  Glimpses  of  Welsh  Life  and  Char- 
acter.    1893.  914.29T81 

See  "  Costume  "  and  "  Dress  "  in  Index. 


See  also  England 
Weapon.s.     See  Araior 

West  Indies 

Henderson,  John.     The  West  Indies.     Painted  by 
A.  S.  Forrest.     1905.  917.29H49 

About  30  of  the  colored  plates  show  costume,  chiefly  cf 
Jamaica. 

Paton,  W.  A.     Down  the  Islands.     1890.  917.29P31 

Frequent  references  in  text.     Several  illustratirra     show 
costumes. 

See  also  Cuba;  Porto  Rico 


Zanzibar 

Lyne,    R.    N.     Zanzibar    in   Contemporary   Times. 
1905.  9G7L98 

2  half-tone  plates  of  costume. 

Rente,   Emily.     Memoirs   of  an   Arabian   Princess. 
Tr.  by  L.  Strachey.     1907.  BR921S 

Female  fashions  of  Zanzibar,  pp.  85-91.     6  plates  of  Zan- 
zibar Arabs. 


\RTISTS    WHOSE    WORK    HAS    BEARING    ON    PERIOD 
FABRICS  OR  COSTUME 


ARTISTS  WHOSE  WORK   HAS  BEARING  ON   PERIOD 
FABRICS  OR  COSTUME 


Greek  and  Roman  Sculpture.     (See  University  Prints,  Students'  Series  A.) 

Mosaic.    Emperor  Justinian  and  his  suite.    Byzantine,  6tli  century,  at  Ravenna. 

San  Vitale. 


ca.  (circa)  =  about. 

Italian  Painting 

Ambrogio  da  Predis  (School  of  Milan),  fl.  1482- 
1506. 

Bartolommeo  Veneto  (Venetian  School),  fl.  1505- 
1555. 

Bassano,  L.  da  P.  (Venetian  School).     1557-1622. 

Bissolo,  F.  (Venetian  School).     1464-1528. 

Botticelli,  S.  (Florentine  School).     1444-1510. 

Bronzino,  A.  (Florentine  School),     ca.  1502-1572. 

Butinone,  B.  J.  (School  of  Milan),  ca.  1436- 
1507. 

Calisto  Piazza  da  Lodi  (School  of  Brescia),  fl. 
1521-1562. 

Carnevale,  Fra  (School  of  Umbria  and  Perugia). 
15th  century. 

Carpaccio,  V.  (Venetian  School),  ca.  1455-  ca. 
1525. 

Cimabue  (Florentine  School),     ca.  1240-1302. 

Conti,  Bernardino  de'  (School  of  Milan),  fl. 
1490-.= 

Cossa,  F.  (School  of  Ferrara).     ca.  1435-1480. 

Crivelli,  C.  (Venetian  School),     ca.  1430-ca.  1493. 

Domenico  Veneziano  (Florentine  School),  ca. 
1410-1461. 

Duccio  di  Buoninsegna  (School  of  Siena),  ca. 
1260-1320. 

Ghirlandajo,  D.  and  pupils  (Florentine  School). 
1452-1525. 

Giotto  and  pupils  (Florentine  School).      1266-1337. 

Giovanni  di  Paolo  (School  of  Siena),  ca.  1403- 
1482. 

Giovanni  di  Piamonte.    fl.  15th  century. 

Giovenone,  G.  (School  of  Vercelli).  ca.  1490- 
1555. 

Jacobello  del  Fiore  (Venetian  School),  fl.  1400- 
1439. 


fl.  =  flourished. 

Lorenzetti,  A.  and  P.  Follower  of  (School  of  Siena) 
fl.  1323-1348-^.  1305-1348. 

Mantegna,  A.  (School  of  Padua).     1431-1506. 

Maratti,  C.     1625-1713. 

Masolino.     (Florentine  School.)     1384-ca.  1435. 

Moroni,  G.  B.     1520-1578. 

Palma  Vecchio.     Venetian  SchcoL     1480-1528. 

Parmigianino  (School  of  Parma).     1504-1540. 

Perugino,  P.     (Umbrian  School).     1446-1523. 

Pesello,  G.  (Florentine  School).     1367-1446. 

Piero  di  Cosimo  (Florentine  School).     1462-1521. 

Pinturicchio,  B.  (Umbrian  School).     1454-1513. 

Pisanello.     ca.  1397-1455. 

Pulzone,  S.     ca.  1562-ca.  1588. 

Roraanino,  G.    (School  of  Brescia),   ca.  1485-1566. 

Rotari,  P.  dei,  1707-ca.  1762. 

Sellajo,  J.  del  (Florentine  School),     ca.  1441-1493. 

Signorelli,  Luca  (Umbro-Florentine  School).  1441- 
1523. 

Sodoma,  II  (School  of  Vercelli).     ca.  1477-1549. 

Spinello,  G.  (Florentme  School).     1387-1452. 

Stefano  da  Zevio  (School  of  Verona),  ca.  1393- 
1451. 

Titian  (Venetian  School).     1477-1576. 

Vasari,  G.     1511-1574. 

Veronese,  P.  (Venetian  School).     1528-1588. 

Verrocchio,  A.  (Florentine  School).     143.5-1488. 

Vivarini,  A.     (Venetian  School),    fl.  1444-1470. 

Zuccaro,  F.  ca.  1543-1609. 

Masters  dei  Cassoni. 

Painting,  Byzantine  School. 

Painting,  Florentine  School. 

Painting,  Italian  School. 

Painting,  North  Italian  School. 

Painting,  Umbrian  School.     16th  century. 

Painting,  Venetian  School.     16th  century. 

Painting,  Venetian  School. 


Page  One  Hundred  Eighty-six 


LIST  OF  ARTISTS 


Dutch  Painting 
Codde,  P.     1610-1660. 
Cornelisz,  J.     1475-1560. 
Cronenburch,  A.  van.     16th  century. 
Cuyp,  J.  G.     1575-1649. 
Dou.  G.     1613-1675. 
Hals,  F.,  the  elder.     1580-4-1666. 
Heist,  B.  van  der.     1613-1670. 
Honthorst,  W.  van.     1604-1666. 
Jacobsz,  L.     1494-1533. 
Janssen,  P.     2d  half  of  17th  century. 
Joest  von  Calcar,  J.     1460-1519 
Ketel,  C.     1546-1616. 
Keyser,  T.  de.     1596-1667  (1679?). 
Mesdach,  S.     1st  half  17th  century. 
Metsu,  G.     1630-1667. 
Mierevelt,  M.  J.     1567-1641. 
Molenaer,  J.  M.     .?-1688. 
Moreelse,  P.     1571-1638. 
Mostaert,  J.     1474-1556. 
Mytens,  D.,  the  elder.     1590-1658. 
Palamadesz,  A.     1601-1673. 
Ravesteyn,  A.  van.     17th  century. 
Santvoort,  D.  D.     1610-1680. 
Steen,  J.     ca.  1626-1679. 
Ter  Borch,  G.     1617-1681. 
Troost,  C.     1697-1750. 
Venne,  A.  van  der.     1589-1662. 
Vermeer  van  Delft,  J.     1632-1675. 
Verspronck,  J.  C.     1597-1662. 
Voort,  C.  van  der.     1576-1624. 
Wilt,  T.  van  der.     1659-1733. 


Painting,  Dutch. 
Painting,  Dutch. 
Painting  Dutch. 
Painting,  Dutch. 


14th  century. 
15th  century. 
16th  century. 
17th  century. 


Flemish  Painting 
Bles,  H.  de.     1480-1550. 
Blyenberch,  A.     1566-1625. 
Bouts,  A.     .M548. 
Bouts,  D.     1410-1475. 
Campin,  R.,  1375-1444. 
Champaigne,  P.  van.     1602-1674. 
Claeissens,  P.,  the  elder.     1500-1576. 
Cleve,  J.  van,  the  elder,  ca.  1485-1540. 
Coffermans,  M.    fl.  1549-1575. 
Cristus,  P.     1400(?)-1473. 
David,  G.     1450-1523. 
Dyck,  A.  van.     1599-1641. 


Eyck,  J.  van.    ca.  1381-1440. 

Francken,  F.,  the  younger.     1581-1642. 

Geerarts,  M.,  the  younger.     1561-1635. 

Goes,  H.  van  der.     .?-1482. 

Heere,  L.  de.     1534-1584. 

Isenbrant,  A.     Before  1510-1551. 

Justus  of  Ghent     ca.  1470? 

Mabuse,  J.  van.     1470-ca.  1533. 

Marmion,  S.     ca.  1425-1489. 

Massys,  Jan.     1509-1575. 

Master  of  the  Legend  of  St.  Lucy,     15th  century. 

Master  of  the  St.  Ursula  Legend.     15th  century. 

Memlinc,  H.  (Memling).     ca.  1430(?)-1494. 

Moro,  A.     1512-1576. 

Pourbus,  F.,  the  elder.     1541-1581 . 

Pourbus,  F.,  the  younger.     1570-1622. 

Pourbus,  P.,  the  younger.     1510-1584. 

Roymerswale,  M.  van.     1497-1567. 

Rubens,  P.  P.     1577-1640. 

Somer,  Paul  van.     1570-1621. 

Vos,  C.  de,  the  elder.     1585-1651. 

Weyden,  R.,  van  der.     1400-1464. 

Painting,  Flemish.     16th  century. 

Painting,  Flemish,  of  Brussels.     15th  century. 

German  Painting 

Bruyn,  B.,  the  elder.     1493-1655. 

Bruyn,  B.,  the  younger,  ca.  1530-ca.  1610. 

Cranach,  L.,  the  elder.     1472-1553. 

Dunwegge,  H.  and  V.     1520-? 

Master  of  the  Life  of  the  Virgin,    fl.  ca.  1460-1480. 

Master  of  St.  Bartholomew,     ca.  1490-1510. 

Master  of  St.  Severin.     .''-1515. 

Multscher,  H.     ca.  1440-1467. 

Neufchatel,  N.     ca.  1527-1590. 

Pacher,  M.     1430-1498. 

Pleydenwurff.     1450-1494. 

Ratgeb,  J.     16th  centiu'y. 

Ring,  L.     ca.  1521-1583. 

Roos,  T.     1638-1698. 

Scheits,  M.     1640-1700. 

Seisenegger,  J.     1505-1567. 

Wolgemut,  M.     1434-1519. 

Painting,  German.     15th  century.  ^ 

Painting,  German.     16th  century. 

Spanish  Painting 

Carreno,  J.  de  M.     1614-1685. 
Coello,  A.  S.     1513(?)-1590. 
Gonzdlez,  B.     1564-1627. 


LIST  OF  ARTISTS 


Page  One  Hundred  Eighty-seven 


Goya  y  Liicientes,  F.  J.  de.     1746-1828. 
Liano,  F.  de.     1556-1625. 
Pantoja  de  la  Cruz,  J.     1551-1609. 
Velasquez.     1599-1660. 
Vermejo,  B.    fl.  ca.  1490. 
Zurbaran,  F.  de.     1598-1662. 
Painting,  Spanish.     15th  century. 
Painting,  Spanish.     16th  century. 
Painting,  Spanish.     17th  century. 
Painting,  Hispano-Flemish.     1451. 

Russian  Painting 
Ritt,  A.     1766-1799. 

French  Painting 
Bourdichon,  J.     1457-1521. 
Clouet,  Frangois.     1500-1572. 
Corneille  de  Lyon.     ?-ca.  1574c 
Coypel,  C.  A.     1694-1752. 
David,  L.     1748-1825. 
Drouais,  F.  H.     1727-1775. 
Dumont,  J.     1701-1781. 
Fantin-Latour.     1836-1904. 
Favray,  A.  C.  de.     1706-1789. 
Fouquet,  J.     ca.  1415-ca.  1480. 
Fragonard,  J.  H.     1732-1806. 
Froment,  N.     15th  century. 
Gandara,  A.  de  la.     1862-. 
Gerard,  F.  P.  S.     1770-1837. 
Greuze,  J.  B.     1725-1805. 
Hilaire,  J.  B.     18th-19th  century. 
Huet,  J.  B.     1745-1811. 
Ingres,  J.  A.  D.     1780-1867. 
Lancret,  N.     1690-1743. 
Largilliere,  N.  de.     1656-1746. 
La  Tour,  M.  Q.  de.     1704-1788. 
Le  Brun,  (Mme.)  Elisabeth  Louise  Vig^e. 
1842. 

Lefebvre,  Jules  Joseph.     1834-.? 
Lefevre,  Robert.     1756-1830. 
Liotard,  Jean  fitienne.     1702-1789. 
Loo,  C.  A.  van.     1705-1765. 
Manet.     Edouard.     1833-1883. 
Mares,  Pierre.     15th  century. 
Master  of  Moulins.     15th  century. 
Nattier,  Jean  Marc.     1685-1766. 
Oudry,  P.     16th  century. 
Pater,  Jean  Baptiste  Joseph.     1695-1736. 
Perreal,  Jean.    fl.  1483(r)-1528. 
Pesne,  Antoine.     1683-1757. 
Prud'hon,  Pierre  Paul,     1758-182? 


1755- 


Quesnel,  FranQois.     ca.  1544-1619. 

Renoir,  Firmin  Auguste.     1841- 

Rigaud,  Hyacinthe.     1659-1743. 

Rioult,  Louis  Edouard.     1780-1855. 

Thevenot,  Arthur  Frangois.     19th  century. 

Tocque,  Louis.     1696-1772. 

Vestier,  Antoine.     1740-1824. 

Watteau,  Jean  Antoine.     1684-1721. 

Painting,  French.     15th  century. 

Painting,  French,  of  Amiens.     15th  century. 

Painting,  French,  of  Amiens.     16th  centuryc 

English  Painting. 
Beechey,  Sir  W.     1753-1839, 
Closterman,  J.     1656-1713. 
Corvus,  J.     16th  century. 
Cotes,  F.     1726-1770. 
Gainsborough,  T.     1727-1788. 
Hogarth,  W.     1697-1764. 
Hoppner,  J.     1758-1810. 
Jervas,  C.     1675-1739.     (Irish  Pnt.) 
Lawrence,  Sir  Thomas.     1769-1830. 
Raeburn,  Sir  Henry.     1756-1823. 
Ramsay,  Allan.     1713-1784. 
Reynolds,  Sir  Joshua.     1723-1792. 
Richardson,  J.,  the  elder.     1665-1745. 
Romney,  G.     1734-1802. 
Sharpies,  J.,  the  elder,     ca.  1750-1811. 
Talfourd,  F.     1815-1874. 
Ward,  E.  M.     1816-1879. 
Painting,  English.     15th  century. 
Painting,  English.     16th  century. 

American  Painting 
Badger,  Joseph.     1708-1765. 
Blackburn,  J.  B.     1700-1760. 
Copley,  J.  S.     1737-1815. 
Feke,  R.     1724-1769. 
Frothingham,  J.     1786-1864. 
Greenwood,  J.     1729-1792. 
Inman,  H.     1801-1846. 
Jarvis,  J.  W.     1780-1834. 
Morse,  S.F.B.     1791-1872. 
Osgood,  C.     18th-19th  century, 
Pratt,  M.     1734-1805. 
Smybert,  J.     1684-1751. 
Stuart,  G.     1755-1828. 
Sully,  T.     1783-1872. 
Trumbull,  J.     1756-1843. 
Waldo,  S.L.     1783-1861. 


From  a  colored  cover  design  by  Brunelleschi. 


Courtesy  of  Har-per't 


INDEX 


INDEX 


Accessories,  6 

Acroi>olis,  103 

Action,  10 

Adam  school,  97 

Advertising,  department  store  illustrated,  49 

Advertising,  magazine,  half-tone,  57 

Advertising,  magazine,  illustrated,  51 

Advertising,  magazine,  pen  and  ink  illustrated,  53 

Advertisement,  magazine  illustrated,  46 

Age,  Golden,  103 

Age  of  Pericles,  103 

Air  brush,  illustration,  35 

Alfred  the  Great,  106 

Analogous  harmony,  62 

Anatomy,  Preface,  13,  23 

Animal  arrangement,  illustrated,  94 

Anne  of  Brittany,  costume  illustrated,  112 

Anne,  Queen,  97 

Anne,  Queen,  of  England,  117 

Applying  color,  9,  70-71 

Armorial  dress,  110 

Armorial  dress,  illustrated,  93,  109 

Arms,  14 

Arms,  illustration,  21 

Arthur,  King,  106 

Artists  whose  work  has  bearing  in  period  fabrics  or 

costume,  131-133 
Asp,  Egyptian,  102 

Austria,  Anne  of,  Queen  of  France,  116 
Avery,  Claire,  54,  59 

Background,  65 

Back  view,  form  illustrated,  1,  2,  3,  4 

Balance,  65 

Balance,  of  figure,  22 

Barbier,  George,  42,  54,  72 

Barry,  Countess  du,  87,  117 

Basquine,  113 

Batchelder,  Ernest  A.,  30 

Baviere,  de  Isabeau,  95 


Beardsley,  Aubrey,  42 

Beardsley,  Aubrey,  illustration,  54 

Beer,  6 

Ben  Day,  31,  39,  40 

Ben  Day  color,  illustrated,  62 

Ben  Day,  illustrated,  33,  49,  55 

Ben  Day,  magazine,  illustrated,  50 

Betrothal  of  Saint  Catherine,  95 

Bibliography,  127-128 

Binary  colors,  61 

Birch,  16 

Bliaud,  108 

Blocking  in,  10 

Boots,  musketeer,  116 

Box  plaits,  38 

Braie,  110 

Bristol  board,  kid  finish,  43 

Bristol  board,  plate,  43 

British  or  masculine  costume  illustrated,  119 

Brittany,  Anne  of.  111,  112 

Brummel,  Beau,  78 

Brunelleschi,  42,  54, 134 

Brush,  air,  32 

Brush  work,  52-53 

Brush  work,  illustrated,  40,  45,  46,  53,  54 

Brushes,  71 

Brushes,  for  wash  work,  48 

Buddhism,  91 

Bustle,  123 

Buttons,  illustration,  5 

Byzantine  influence,  107 

Callot,  Sceurs,  6 

Carlyle,  45 

Catalogue,  ink  work,  illustrated,  46 

Catalogue  page,  illustrated,  30,  31,  35 

Catalogue,  pattern  work  illustrated,  52 

Catalogue,  wash,  50 

Catalogue  work  illustrated,  47,  51 

Charlemagne,  107 


Page  One  Hundred  Ninety -two 


INDEX 


Charlemagne,  daughters  of,  94 

Charles  I,  King  of  England,  86,  114 

Charles  II,  King  of  England,  86,  116 

Charles  VI,  95 

Charles  X,  121,  122 

Charles  the  Simple,  95 

Chart,  color,  65-66 

Checks,  illustrated,  41,  42 

Chemise,  108 

Cheruet,  6 

Chicing,  10,  13 

Chiffon,  37 

ChiflFon,  illustrated,  9 

Children,  59 

Children,  illustrated,  13,  16 

Children,  lay-out  illustrated,  41 

Children,  proportions,  16 

Children,  proportions  illustrated,  17 

Chinese  influence,  97 

Chinese  ornament,  98 

Chinese  white,  37 

Chiton,  Doric,  103 

Chiton,  Greek,  103 

Chiton,  Ionic,  103 

Chlamys,  Greek,  103 

Circle,  construction,  36 

Classic  Period,  Greek,  103 

Clifford,  Period  Furnishings,  96 

Cloak,  Egj^ptian  illustrated,  102 

Cloaks,  Egyptian,  101 

Colbert,  97,  98 

Collar,  flat,  116 

Cold  color,  63 

Collection,  documents,  36 

Collection,  swipe  ,36 

Color,  61-71 

Color,  applying,  9,  70-71 

Color,  binary,  63 

Color  chart,  65-66 

Color,  complementary,  63 

Color,  Dr.  Frank  Crane,  67-70 

Color,  intensity  or  chroma,  62 

Color,  materials,  65,  70,  71 

Color,  normal,  63 

Color,  primaries,  63 

Color  scale,  63 

Color  schemes,  67 

Color,  significance,  66,  67 

Color  sketch,  6 

Color,  tempera,  9 


Color,  theory,  63 

Color,  tone,  tint,  shade,  hue,  63 

Color,  value,  66 

Color,  warm,  63 

Color,  water,  9 

Color,  with  wash,  50 

Colors,  tertiary,  63 

Compass,  36 

Cetnplementary  colors,  63 

Complementary  harmony,  65 

Composition,  30,  52,  53 

Composition,  reference  books,  30 

Construction,  head  illustrated,  17 

Construction  of  figure  illustrated,  15 

Construction,  toothpick,  22 

Consulate,  121 

Consulate  fashions,  illustrated,  120 

Convention,  121 

Coptic  design,  91 

Copying,  10,  37 

Corset,  illustrated,  39 

Corsets,  114,  120,  122 

Costume,  Consulate,  120 

Costume  Design,  Preface 

Costume,  Directoire,  illustrated,  119 

Costume,  Egyptian,  101-102 

Costume  Egyptian,  illustrated,  101-102 

Costume,  18th  century,  illustrated,  117,  118,  119 

Costume,  First  Empire,  illustrated,  120 

Costume,  Gallic,  illustrated,  105 

Costume,  Gallo-Roman,  illustrated,  105 

Costume,  Greek,  103-104 

Costume,  Homeric,  103 

Costume,  illustration.  Preface 

Costume,  Louis  XIV,  illustrated,  115 

Costume,  Louis  XV,  illustrated,  117,  118 

Costume,  Louis  XVI,  illustrated,  119 

Costume,  Ix)uis  XVIII,  illustrated,  121 

Costume,  Louis  Philippe,  illustrated,  121 

Costume,  masculine,  British  or  English,  120 

Costume,  INIinoan  or  Mycenaean,  103 

Costume,  Pre-Hellenic,  103 

Costume,  Restoration,  illustrated,  121 

Costume,  reference  books,  127,  128 

Costume,  Roman,  104-105 

Costume,  Romantic  Period,  illustrated,  121 

Costume,  Watteau,  illustrated,  117 

Costumes,  Restoration,  illustrated,  121 

Costumes,  2d  Empire,  illustrated,  122 

Cotte,  110 


INDEX 


Page  One  Hundred  Ninety -three 


Crane,  Dr.  Frank,  color,  67-70 
Crayon,  pencil,  48,  50,  51,  124 
Crepe,  illustrated,  5 
Cromwell,  Oliver,  116 
Cromwcllian  period,  86 
Crown,  red,  102 
Crown,  white,  102 
Crusades,  95,  108 

Dancing  girls,  Egyptian,  102 
Dark  Ages,  Egyptian,  101 
David,  Jacques  Louis,  87 
Decorative  detail  illustrated,  44,  45 
Decorative  fashion  work  illustrated,  44,  45 
Decorative  half-tone,  56 
Decorative  p>en  and  ink,  40 
Decorative  pen  and  ink,  illustrated,  53 
Decorative  treatment,  38 
Department  store  advertising,  39 
Design,  adaptation  illustrated,  91,  75,  76 
Design,  costume,  75-79 
Design,  fundamentals  of,  65 
Design,  influences,  91 
Design,  primitive,  91 
Design,  sources,  76-78 
.Design,  symbolic  significance,  91 
Designers,  6 

Detail,  decorative,  illustrated,  44,  45 
Detail,  illustrated,  42 
Details,  5-6 

Diana,  Dutchess  of  Valentinois,  113 
Directoire,  98,  120,  121 
Directoire  and  Empire  design,  98 
Directoire  costume,  illustrated,  119 
Directoire  period,  97 
Directorate,  87 
Directory,  121,  122 
Documents,  36,  86 
Documents,  use  illustrated,  37-38 
Dominant  harmony,  62 
Doric  chitoU;  103 
Dotted  materials,  37 
Double  complementary  harmony,  65 
Doublet,  114 
Dow,  Arthur,  30,  52,  53 
Drapery,  38 
Drapery,  illustrated,  85 
Drawing,  without  models,  13-23 
Drecoll,  6 
Dress  and  History,  3d  to  11th  Century,  106-107 


Dress,  Consulate,  120 

Dress,  18th  century,  117-121 

Dress,  18th  century  illustrated,  117,  118,  119 

Dress,  Egyptian,  92,  101,  102 

Dress,  11th  century,  108 

Dress,  First  Empire  illustrated,  120 

Dress,  14th  and  15th  centuries  illustrated,  110 

Dress,  loth  century,  111 

Dress,  Greek,  92 

Dress,  Louis  XIV,  illustrated,  115 

Dress,  Louis  XV,  illustrated,  117,  118 

Dress,  Louis  XVI,  illustrated,  119 

Dress,  Louis  XVIII,  illustrated,  121 

Dress,  Louis  Philippe,  illustrated,  121 

Dress,  19th  century,  121 

Dress,  parti-colored  93,  109,  110, 

Dress,  Restoration  illustrated,  121 

Dress,  Roman,  93,  104,  105 

Dress,  Romantic  Period,  illustrated,  121 

Dress,  second  Empire,  illustrated,  122 

Dress,  16th  century,  113,  114 

Dress,  17th  century,  116 

Dress,  12th  century,  108 

Dress,  13th  and  14th  centuries,  110 

Dress,  Watteau,  illustrated,  117 

Drian,  illustration.  Frontispiece 

Drian,  47,  54 

Dryden,  Helen,  16,  47,  54 

Dryden,  Helen,  illustration,  16,  24 

Du  Maurier,  George,  88 

Dunlop,  J.  M.,  Preface,  14 

Diirer,  Albert,  study  of  hands,  19 

Durer,  Albrecht,  38 

Diirer,  Albrecht,  illustration,  85 

Duval,  Preface 

Dyes,  ancient,  92 

Early  fabrics  and  designs,  91 

Early  Renaissance  costume,  illustrated,  112 

East  India  Company,  97 

East,  influence  of,  91,  93 

Eastern  character,  97 

Eastern  design,  91 

Editorial,  magazine,  56 

Editorial,  magazine,  illustrated,  44,  45 

Editorial,  magazine  color,  illustrated,  62 

Editorial,  newspaper,  46 

Editorial,  pen  and  ink,  38,  39 

Egyptian  costume,  101, 102 

Egyptian  costume  illustrated,  92,  101,  102 


Page  One  Hundred  Ninety -four 


INDEX 


Egyptian  dress,  92,  101,  102 

Egyptian  emblems,  102 

Egyptian  fabrics,  91,  92 

Egyptian,  Old  Kingdom,  101 

Egyptian  symbols,  102 

Eighteenth  century,  86,  88 

Eighteenth  century,  costume  reference  books,  116, 123 

Eighteenth  century  costume  illustrated,  117, 118, 119 

Eighteenth  century  dress,  117-121 

Eighteenth  century,  late,  illustrated,  119 

Eleventh  century  costume,  illustrated,  107 

Eleventh  century  dress,  108 

Elizabeth,  Queen  of  England,  97,  113 

Elizabethan  collar,  86 

Elizabethan  era,  85 

Ellipse,  constructing,  36 

Ellipse,  construction  illustrated,  37 

Emblems,  Egyptian,  102 

Embroidery,  illustrated,  42 

Embroidery,  wash  work,  38 

Empire,  88,  122 

Empire  costume,  98 

Empire,  1st,  123 

Empire,  2d,  122 

Empire  style,  87 

Enlarging,  illustrated,  29 

Ert6,  42,  47,  54 

Ert6,  illustrations,  44,  45 

Etching,  54,  60 

Fabric,  classification,  96 

Fabric,  documents,  reference  to,  131-133 

Faces,  16-18 

Fans,  116 

Feathers,  realistic  treatment,  illustrated,  47 

Feature  cut  illustrated,  50 

Feet,  19 

Fichu,  107 

Fifteenth  century,  84,  85 

Fifteenth  century  dress.  111 

Fifteenth  century  dress,  illustrated,  110 

Fifteent    century  reference  books,  111 

Figure,  13-23 

Figured  material,  illustrated,  5 

First  Empire,  123 

First  Empire  fashions  illustrated,  120 

Flowered,  material,  illustrated,  5 

Flowered  materials,  37 

Fontange  headdress,  116 

Fontange  headdress,  illustrated,  115 


Fontanges,  Mile,  de,  97,  116 
Fourteenth  century  dress,  110 
Fifteenth  century,  reference  books.  111 
Fourteenth  and  fifteenth  century,  dress  illustrating, 

110 
Formal  arrangement,  illustrated,  94 
Forms,  1-3 
Forrester,  Fern,  54 
Francis,  6 
Francis  I,  95 

Francis  I,  King  of  France,  113 
Fragonard,  86 
Franks,  107 

Front  view,  form  illustrated,  1,  2,  3,  4 
Fur,  38 

Furs,  decorative  illustrated,  45 
Furs,  realistic  method  illustrated,  47 

Gainsborough,  86 

Gallic  costume  illustrated,  105 

Gallo-Roman  costume  illustrated,  105 

Gathers,  38 

Gathers,  illustration,  5 

Gauls,  costume,  105,  106 

Gauls,  history  and  dress,  105,  106 

Gauls,  reference  books,  106 

George  I,  George  II,  and  George  III,  117 

George  III,  87 

George  IV,  121 

Girdle,  Greek,  103 

Globes,  Egyptian,  102 

Gloves,  107 

Gold  thread,  use  of,  95 

Golden  Age,  103 

Gorget,  illustrated,  83 

Gothic  architecture,  84 

Gothic  tapestry,  illustrated,  84 

Greek  Classic  Period,  103 

Greek  costume,  103,  104 

Greek  costume,  illustrated,  103,  104 

Greek  Doric  dress  illustrated,  92 

Greek  dress,  92 

Greek  girdle,  103 

Greek  history  and  dress,  103,  104 

Greek  Influence,  91 

Greek  Law,  6,  27,  28 

Greek  Law,  illustrated,  27 

Green,  Elizabeth  Shippen,  16 

Greenaway,  Kate,  16,  87 

Greenaway,  Kate,  style  illustrated,  87 


INDEX 


Page  One  Hundred  Ninety-five 


Hair,  18 

Hair,  illustration,  18 

Half-tone,  see  Wash  references. 

Handkerchiefs,  107 

Hands,  Frontispiece,  8,  19 

Hands,  illustration,  7,  18,  19,  20 

Harmonies,  62-63 

Harmonies  of  difference,  65 

Harmonies  of  likeness,  62 

Harmony,  65 

Hat,  design  illustrated,  75 

Hats,  6 

Hats,  designing,  78,  79 

Hats,  illustration,  8,  24,  79 

Hatton,  Richard  G.,  Preface 

Head,  13, 14 

Head,  illustrated,  17 

Heads,  16,  17 

Heads,  children,  16 

Headdress,  Fontange,  116 

Headdress,  Fontanges,  illustrated,  115 

Headdress,  hennens,  110 

Headdress,  horned,  83 

Heading,  illustrated,  54 

Headings,  42 

Hem,  illustrated,  27 

Hennin,  headdress,  illustrated,  110 

Hennins,  110 

Henry  II,  97 

Henry  VIII,  85 

Henry  VIII,  King  of  England,  111 

Heraldic  forms,  95 

Himation,  Greek,  93,  103 

Hispano-Moresque  fabrics,  95 

Historic  costume,  101-123 

History  and  dress,  Gauls,  105-106 

History  and  dress,  Greek,  103-104 

History,  Roman,  104 

History,  3d  to  11th  century,  106 

History,  11th  century,  107-108 

History,  12th  century,  108 

History,  13th  and  14th  centuries,  108-110 

History,  15th  century,  110-111 

History,  16th  century,  111-113 

History,  17th  century,  114-116 

History,  18th  century,  117 

Hogarth.  96 

Holbein,  Hans,  85 

Holbein,  Hans,  illustration,  86 

Hollar,  86 


Homeric  costume,  103 
Hoop,  117 
Horizontal  lines,  65 
Houppelande,  96,  110 
Houppelande,  illustrated,  84,  110 
Hue,  61 

Imagination,  77 

"  Impossibles,"  costume  illustrated,  119 

"  Incroyables,"  costume  illustrated,  119 

"  Incroyables,"  "uniniagineables,"  "  merverilleuses' 

and  "impossibles,"  121 
Indian  lawns,  122 
Indian  shawl,  98 
Individuality,  43,  45,  52 
Influences  in  design,  91 
Ink,  42 

Intensity,  laws  governing,  65 
Interregnum,  116 
Ionic  chiton,  103 
Italian  14th  century  costume  illustrated,  93 

Jabot,  116 

Jackets,  123 

Jacobean,  97 

James  I,  86 

James  I,  King  of  England,  114 

James  II,  King  of  England,  116 

Japanese  prints,  44,  47 

Jeanne  d'Arc,  96 

Josephine,  121 

Jumping,  illustrated,  22 

Kerchiefs,  Egyptian,  102 

Lace,  illustrated,  42 

Laces,  37-38 

La  Valliere,  Louise,  97 

Lawns,  Indian,  122 

Lawrence,  86 

Laws  for  use  of  color,  65 

Lay-out,  illustrated,  41 

Lay-out,  finished,  illustrated,  30-31,  35,  41,  47,  51 

Lay-outs,  29,  30 

Lay-outs,  rough,  illustrated,  29 

Leaping,  illustrated,  22 

Legs,  14 

Lepape,  George,  42,  54,  80 

Lettering,  book  on,  36 

Line  cut,  see  Pen  and  ink  references. 


Page  One  Hundred  Ninety-six 


INDEX 


Lines,  45 

Lord,  Harriet,  34 

Lotus,  EgjTptian,  102 

Louis  Philippe,  121,  122 

Louis  Philippe  costume  illustrated,  121 

Louis  XI,  95 

Louis  XIII,  King  of  France,  116 

Louis  XIV,  117 

Louis  XIV,  King  of  France,  86,  96,  97,  116 

Louis  XIV  costume  illustrated,  115 

Louis  XV,  87,  97,98,  117 

liouis  XV,  costume  illustrated,  117,  118 

I^uis  XVI,  87,  97,  98,  117,  120 

Louis  XVI,  costume  illustrated,  118,  119 

Louis  XVI,  period  of,  98 

Louis  XVin,  121,  122 

Louis  X\TII,  costume  illustrated,  121 

Lutz,  E.  G.,  Preface,  8 

Magazine,  advertising,  57 

Magazine,  advertising  illustrated,  53 

Magazine,  editorial,  56 

Magazine,  editorial  illustrated,  62 

Magazine,  pattern  drawing,  57 

Maintenon,  Madame  de,  97,  116 

Mantles,  118 

Margins,  6 

Marie  Antionette,  87,  98 

Marie  Antionette,  strips,  98 

Marie  Louise,  121 

Marshall,  Preface 

Martial  and  Armand,  6 

Materials,  black,  37 

Materials,  color,  65,  70,  71 

Materials,  for  crayon  pencil  work,  51 

Materials,  wash,  48 

McQuin,  47,  54 

Medici,  Catherine  de,  97,  113 

Medicis,  Marie,  113 

Memling,  Hans,  painting  of,  95 

Meredith,  Owen,  88 

*'  Marveilleuses,"costume  illustrated,  119 

Method,  catalogue  wash  method   llustrated,  58 

Method,  decoration  illustrated,  44,  45 

Method  of  reproducing  two  colors,  68,  69 

Method,  realistic  illustrated,  39 

Method,  realistic  treatment  illustrated,  40,  46 

Method,  textile  designing,  54-59 

Monochromatic  harmony,  62 

Montespan,  Madame  de,  97,  116 


Monvel,  Boutet  de,  96,  111 
Mosaic,  Byzantine,  6th  century,  131 
Moyen  age,  83 
Munsell,  A.  IL,  61 

Museum,  Cooper  Union,  Coptic  designs,  92 
Museum,  Metropolitan,  as  a  source  of  design  illus- 
trated, 76 
Museum,  Metropolitan,  Coptic  room,  92 
Museum,  Metropolitan,  period  dolls,  88 
Museum  Metropolitan,  tapestry  from,  84 
Musketeer  boots,  116 
Muslins,  122 
Mycenaean  costume,  103 

Napoleon,  87,  98 

NajKjleon  Bonaparte,  121 

Napoleon,  Louis,  122 

Napoleon  III,  121,  122 

Nattier,  86 

Neilson,  Kay,  42 

Neutralization,  65 

New  empire,  Egyptian,  101,  102 

Ninth  and  tenth  centuries  costume  illustrated,  107 

Nineteenth  century,  87,  88 

Ninteenth  century  dress,  121,  123 

Nocturne  by  Whistler  as  inspiration,  77 

Normal  color,  61 

Ogival  forms,  94 

Old  Kingdom,  Egyptian,  101 

One  mode  harmony,  62 

Openings,  4 

Oriental  characteristics,  97 

Oval,  construction,  13, 14 

Paenula,  Roman,  104 

Paintings,  having  bearing  on  costume,  131-133 

Paintings,  having  bearing  on  fabrics,  131-133 

Paisley  shawl,  98 

Palla,  Roman,  104 

Panier,  117 

Paper,  carbon,  32 

Paper,  frisket,  32 

Paper,  graphite,  32 

Paquin,  6 

Parasol,  illustrated,  38 

Parsons,  Frank  Alvah,  30 

Parti-colored  costume,  110 

Parti-colored  costume  illustrated,  109 

Parti-colored  dress,  95 


INDEX 


Page  One  Hundred  Ninety-seven 


Parti-colored  dress  illustrated,  93 

Pattern  drawing,  magazine,  57 

Pattern  drawing,  newspaper,  39 

Pattern  work,  magazine  illustrated,  50 

Pattern  work,  newspaper  illustrated,  48 

Pen  and  ink,  38-47 

Pen  and  ink,  black  detail  work  illustrated,  40 

Pen  and  ink,  black  material  illustrated,  40 

Pen  and  ink,  catalogues,  40 

Pen  and  ink,  catalogue  illustrated,  52 

Pen  and  ink,  decorative,  40 

Pen  and  ink,  decorative  work  illustrated,  53 

Pen  and  ink,  illustrated,  46 

Pen  and  ink,  magazine  advertising  illustrated,  53 

Pen  and  ink,  magazine  work,  39-47 

Pen  and  ink,  pattern  work  illustrated,  40,  52 

Pen,  ruling,  36 

Pens,  43 

Pencil  crayon,  48 

Pencil,  crayon,  50,  51 

Peplum,  116 

Period  fabric  design,  91-98 

Period,  how  influenced,  silhouette,  83-88 

Periods  in  designing,  77,  78 

Periods,  painting  as  references,  131-133 

Persian  verdure,  96 

Personal  characteristics,  75 

Personality,  79 

Pericles,  age  of,  103 

Perneb,  101 

Petit  Trianon,  120 

Phrygean  bonnet,  108 

Pilgrims,  86 

Plaids,  37 

Plaids,  illustrated,  41 

Plaids,  shepherd,  37 

Plaids,  shepherd's,  illustrated,  42 

Pleating,  illustrated,  5 

Plaits,  box,  38 

Plaits,  side,  38 

Pleats,  Watteau,  118 

Poiret,  Paul,  6 

Pompadour,  Marchioness  de,  87,  98,  117 

Pompadour  stripes,  98 

Poor,  Henry  A.,  30 

Pre-Hellenic  costume,  103 

Premet,  4 

Priests,  102 

Primaries,  colors,  61 

Primitive  design,  91 


Problem,  45 
Puritans,  86 

Quaker,  86 

Raeburn,  86 

Red,  crown,  102 

Reducing,  illustrated,  29 

Reference  books,  Egyptian,  102 

Reference  books,  Gauls,  106 

Reference  books,  3d  to  11th  century,  107 

Reference  books,  11th  century,  108 

Reference  books,  12th  century,  108 

Reference  books,  13th,  1  tth,  and  15th  centuries.  111 

Reference  books,  17th  century,  116 

Reference  books,  18th  century,  116,  123 

Reference  books,  19th  century,  123 

Regency,  117 

Religious  orders.  84 

Rembrandt,  79 

Renaissance,  85,  97 

Renaissance  costume,  late,  illustrated,  113,  114 

Renaissance,  early,  costume  illustrated,  112 

Reproduction,  two  color  process,  68,  69 

Republic,  French,  122 

Restoration,  122 

Restoration,  costume  illustrated,  121 

Reta  Sanger,  illustrations,  13,  43,  62 

Revolution,  French,  98,  120 

Reynolds,  Sir  Joshua,  86 

Rhythm,  65 

Richter,  Preface 

Roman  costume,  104,  105 

Roman  costume  illustrated,  104 

Roman  costume  reference  books,  105,  106 

Roman  dress,  93 

Roman  history,  104 

Roman  palla,  104 

Roman  poenula,  104 

Roman  toga,  104 

Roman  tunic,  104 

Romantic  period,  122 

Romantic  period,  costume  illustrated,  121 

Romney,  86 

Ross  board,  31 

Ross  board,  illustrated,  33 

Royal  gardens,  97 

Rubens,  86 

Ruff,  114 

Running,  illustrated,  22 


Page  One  Hundred  Ninety-eight 


INDEX 


Saint  Catherine,  betrothal  of,  95 

Scale,  in  design,  79 

Scale  of  color,  61 

Scroll  motif,  illustrated,  94 

Sculpture,  Greek  and  Roman,  131 

Second  Empire  costumes,  illustrated,  1?2 

Senger,  Reta,  13.  43,  54,  64 

Seventeenth  century,  86 

Seventeenth  century  costume  illustrated,  114 

Seventeenth  century  dress,  116 

Shade,  61 

Shakers,  87 

Shawl,  122 

Shawl,  Indian,  98 

Shawl,  Paisley,  98 

Shawls,  123 

Shepherd  kings,  101 

Shepherd  plaid,  37 

Shoes,  19,  22 

Shoes,  illustrated,  7,  18,  34,  35 

Side  plaits,  38 

Significance,  color,  66,  67 

Silhouette,  34-36 

Silhouette,  fashion,  83 

Silhouette,  half-tone,  illustrated,  43 

Silhouette,  illustrated,  36,  87 

Silhouette,  period  illustrated,  86 

Silhouette,  value  of,  83 

Silks,  oriental,  122 

Silver  print,  32 

Sixteenth  century,  85-86 

Sixteenth  century  costume  illustrated.  111,  112 

Sixteenth  centur j"^  costume  reference  books.  111 

Sixteenth  century  dress,  113,  114 

Sixteenth  and  seventeenth  centuries,  97 

Sketch,  dressmaker's,  9 

Sketch,  manufacturer's,  9 

Sketching,  10 

Sketching,  for  manufacturer  ,  4 

Sketching,  garment,    -5 

Sketching,  life,  7 

Sketching,  memory,  4 

Slashed  costumes,  113,  114 

Sleeves,  88 

Smith,  Jessie  Wilcox,  16 

Soulie,  54,  124 

Spatter  work,  31,32 

Spatte-  work,  illustrated,  33 

Split  complementary  harmony,  65 

Sport  suit,  54 


Spotting,  53 

Squares,  ruled,  32 

Standing  illustrated,  22 

Steinmetz,  55 

Steinmetz,  E.  M.  G.,  illustration,  56,  60 

Stipple,  34 

Stipple,  illustrated,  34 

Stitching,  38 

Stitching,  illustration,  5 

Stock,  116 

Stockings,  110 

Straps,  Egyptian  hanging,  102 

Stripes,  37 

Stripes,  illustrated,  5,  41 

Stripes,  Marie  Antoinette,  98 

Stripes,  Pompadour,  98 

Surcot   110 

Surcot,  illustrated,  95,  109 

Swastika,  91 

Swipe  collection,  36 

Swipe  collection,  illustrated,  37,  38 

Symbols,  Egyptian,  102 

Syrian  weavers,  93 

Tapestries,  Gothic,  83,  84 

Theatrical  illustration,  6 

Theory,  color,  63 

Third  to  eleventh  century  dress,  106,  107 

Thirteenth  and  fourteenth  century  costume  illus- 
trated, 109 

Thirteenth  century  dress,  110 

Thirteenth  century  reference  books,  111 

Technique  catalogue  illustrated,  30,  31,  35,  41  42, 
47,51,52,58 

Technique,  color,  9 

Technique,  crayon  pencil,  50 

Technique,  crayon  pencil  illustrated,  7,  59,  124 

Technique,  decorating,  40 

Technique,  decorative,  illustrated,  44,  45,  53 

Technique,  decorative  half-tone  illustrated,  56 

Technique,  detail,  37-38 

Technique,  detail,  illustrated,  42 

Technique,  mechanical,  see  Ben  Day,  Air  Brush, 
Silver  Print,  Ross  Board,  etc. 

Technique,  pattern  pen  and  ink,  40 

Technique,  pen  and  ink,  38-41 

Technique,  pencil,  3 

Technique,  realistic,  illustrated,  35,  42,  47,  51 

Technique,  silhouette,  34-37 

Technique,  sketching,  3-10 


INDEX 


Page  One  Hundred  Ninety-nine 


Technique,  stipple,  34 

Technique,  wash,  47-50 

Tempera,  show  card  colors,  71 

Tertiary  colors,  61 

Textile  designing,  54-57 

Textile  designing,  illustrated,  55 

Texture,  of  paper,  32 

Textures,  37,  38 

Tint,  61 

Toga,  Roman,  104 

Tone,  61 

Toothpick  construction,  22 

Toothpick  construction,  applied,  23 

Torso,  14 

Tracing,  32 

Transferring,  32 

Transaction,  period,  97 

Treatment,  decorative,  38 

Triad  harmony,  65 

Triangular  erection,  101 

Trianon,  Petit,  120 

Trimmings,  37 

Trimmings,  illustrated,  5 

Trunk  motive,  illustrated,  94 

Tucks,  38 

Tucks,  illustration,  5 

Tulle,  illustrated,  9 

Tunic,  Roman,  104 

Twelfth  century,  costume  illustrated,  109 

Twelfth  century,  dress,  108 

Underwear,  illustrated,  52,  64 

Valliere,  Mile,  de  la,  116 

Value,  62 

Value,  color,  66 

Values,  52 

Vanderpoel,  illustration,  20,  21 


Vanderpoel,  J.  H.,  Preface,  19 
Van  Dyke,  86 
Valasquez,  86 
Vertical  lines,  75 
Vertugale,  113 
Vest,  116 
Victoria,  121 
Vignette,  illustrated,  39 
Vulture,  Egyptian,  102 

Waist,  normal,  122 

Waistcoat,  116 

Walking,  illustrated,  22 

Warm  color,  61 

Wash,  advertising,  47-48 

Wash,  catalogue,  48 

Wash,  decorative,  48,  50 

Wash,  editorial,  47 

Wash,  layout  illustrated,  41 

Wash,  materials,  48 

Wash,  methods,  49-50 

Wash,  pattern,  47 

Wash,  pattern  work,  48 

Wash,  realistic,  48 

Wash,  sketching,  48 

Wash  work,  47-50 

Watteau,  86 

Watteau  costume,  illustrated,  117 

Wattean  plait,  118 

Watteau  styles,  120 

Weaving,  93 

W^eeks,  illustrated,  3 

White,  Chinese,  37 

White,  crown,  102 

William  IV,  121 

William  the  Conqueror,  107 

Wimple,  illustrated,  83 

Women,  Egyptian,  102 


»♦  17        4 


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D     000  191  794 


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